Identifying unused files in Premiere Pro

Head into your Project Panel and check the columns you have available. You may need to scroll right, but look for one titled "Video Usage."

If it isn't there, right click on the columns and click "Metadata Display..." Drop down the Premiere Pro Project Metadata menu and check "Video Usage."

Now, using the "Video Usage" column, you can see how many times each clip is referenced in a sequence. Anything without a number next to it is not used.  A quick tip, if you have any audio-only files or used just the audio of any clip, you may want to also include the "Audio Usage" column and cross reference the two of them together when making your decision. Either way, if any clip is referenced in a sequence, Premiere should warn you before allowing you to delete it.


How do I crop multiple areas of each frame of the video using ffmpeg?

Add more outputs.
ffmpeg -i video.mp4 -filter:v "fps=1,crop=759:41:33:99,scale=128:44" row1-%d.png -filter:v "fps=1,crop=759:41:33:140,scale=128:44" row2-%d.png -filter:v "fps=1,crop=759:41:33:181,scale=128:44" row3-%d.png

Or do one row per command.


VLMC is a non-linear multitrack editor. It's based on VLC and inherits a pretty vast format compatibility from that. The UI is a little rough, but it gets the job done.

Lightworks is a more recent project and seems polished. It's rooted in broadcast editing, so a large number of familiar codecs are unsupported. It supports Matrox codecs, which you have to install separately, so you'll have to convert your video to Matrox AVIs first.

Avidemux is a simple editor, good for trimming and small tasks. In my experience, not very stable on Windows, OK on Linux.


The author in the comments says it was made using Cinema4D.

It looks a lot like this tutorial:

http://cgterminal.com/2017/08/10/cinema-4d-hyper-realistic-3d-acrylic-paint-stroke-tutorial/


Interpreting 60fps to 24fps in Premiere Pro

I figured out the problem. My shutter speed was set too low. Turns out it needs to be double the frame rate in order to achieve a smooth motion when interpreted to 24 fps. Should have thought of that before I shot. Oh well. Lesson learned.


How can I record audio with the USB mic and record with the camera without having to sync them?

I don't think Samsung NX1000 can stream video to PC. So you can't "connect them both to the pc and record". You shall record first, and only then copy footage on the PC.

However some cameras have audio jacks inputs, to connect external microphone to them. And your Samsung NX1000 have one. But your microphone don't have audio jack output, so it outputs only digital signal. And your DSLR can receive only analog signal. So it is impossible to connect your microphone to your DSLR directly.

You need computer to convert digital signal to analog, and then connect it to your DSLR. It can be achieved with some kind of microcomputer like Raspberry Pi. Or, if you going to record only near your PC, you can plug your mic into PC, and then connect your PC's audio output to your DSLR's audio input. Maybe some settings on the PC should be adjusted for this to work properly. But it depends on your operating system.

After recording, do not forget to copy files from your DSLR to your PC.

Good Luck!


How to remove Tracker points from green screen footage

You don't need to use greenscreen. You need to track markers, and put your footage above the markers and greenscren. Just lock position on markers points.

Like in this video, but track not corners, but markers.

Then you can add some effects for footage, to look more immersive.


Background color of MP4 rendering incorrectly in QuickTime

it is a problem with  gamma settings youre using and QT has its own gamma settings, dont bother. it will display only in QT that way...

also check for alphas, but im not so sure that mp4 can support alpha channels... only qt mov with animation codec has alpha.... as i know...


Audio normalization across multiple clips and for Youtube, in After Effects

Your workflow is wrong. You just don't normalize audio with After Effects. Instead either do it with an audio editor, like Audition (which seems suitable to match clips in timeline, just use the normalize effect and maybe a compressor if the dynamic is too great). Finally apply loudness normalization with your video editor. For example during export with Premiere Pro you can set the loudness in the effects tab. Choose a profile and set parameters. For background information on parameter and unit names you can read a PDF here.


Digitized super 8 mm film - got wrong aspect ratio?

Yes, digitization screws up the aspect ratio.  See the reasons for my conclusion after "EDIT" in the question.


EDIT: You need to be clear what your goal is. If this is a summer project and just something for some friends to work on together right now, I'd suggest getting Blender (https://www.blender.org/) and learning to use it together. Make some of your establishing shots, if you can.
Or start on a script. 99% of people with good ideas for a movie never make it because they never write and finish a script. Pick one scene and script it and shoot it. Do you need lighting? Props? Have you found a good location? Is it interesting.
Depending on your expectations, it will be very hard. But you can learn together and if things go well, you may have the foundation for actually making a movie.
Script-writing is hard. Movie shooting -- multiple angles, script, actors, props -- is hard. 3D (Blender) is hard. But if you're imagining that you can just run a camera and have people do what they want and in the end you make it look like it's winter -- that's VERY hard.
If it snows reliably in your area, you could easily take the next six months working on Blender, scripting, practicing some shots, scouting locations, etc in preparation for real snow. (Even if it doesn't snow, winter footage may be better than summer footage in terms of looking like winter.)
You can enjoy this process. But don't let your friends' expectations end up with lots of filming being done and then dumped on you to do the impossible. Make sure the process is iterative so your friends can see what's possible, rather than imagine a Hollywood budget.
PREVIOUS ANSWER:
You'll really need to set expectations for your friends. A huge portion of the filming (say 98% or something like that) should be indoors.
Like most shows/movies you'll have an establishing shot of a snow-covered building in a snow-covered valley for a few seconds, then you'll cut to indoors scenes which you physically set up to plausibly look like they are the inside of that building we just saw the outside of. This establishing shot might be real video of a real building that really has snow, or you might attempt to take a photo and touch it up per some of the Photoshop tutorials, then animate falling snow or use a 3D program like Blender and animate a truck or something, so the still could be a video.
Inside, you might want to see the outside occasionally. Have the camera on a tripod and unmoving, looking at the scene with a window in the shot. To make it easy, don't have any people walk in front of the window. Make sure bright light is coming through the window, as if there were lots of snow outside. You can then figure out what it looks like outside of the window and replace the window with that image/video.
If actors walk in front of the window, you'd need to rotoscope around them -- hard -- or the window would need to be a greenscreen or something like that -- also hard -- so you could have the actor appear in front of your replacement window view.
Better yet, fake it. The snow is so high or the wind is so strong that snow/ice cover the windows and you can't see out. Pile fake snow in a bag against the outside of the windows. Every aspect of the script will have to be driven by whether you can actually pull off the shot or not.
Do some experimentation first to see how realistic you get, before you write a script and get actors and crew and actually spend days taping. Your friends can fantasize about how it will look, but you'll be on the hook to fulfill their dreams and it's absolutely not easy.
Anyhow, if your video editing software has color grading/correction tools you can try to do what the Photoshop tutorial does: pick areas of your frame that are green or bright and tint them very white -- leaving some light/darkness variation so it looks a bit more 3D. I tried that really quickly on a scene and the best I could do is to have it look like a dusting of snow had fallen on some grass. And there was a lot of flicker in the color: it's easy to get a single still frame looking good, but video has noise and the light is changing from frame to frame, so it's easy to get flickering when you're doing as extreme of a color adjustment as making stuff look white.
But it's not going to look like the North Pole. There's another Photoshop Tutorial that I see recommended from the end of the one you linked. It uses an old wood cabin and the thumbnail shows a before/after split screen. Notice that they replace entire chunks of the image with white, then add shading and texture to give it depth. That's what a real movie would do in your case: most of the outdoor scenes -- basically anything that your actors don't touch -- would be masked out and replaced by 3D renderedings.
So it's in your best interest to have pretty much everything take place indoors (in a building, in a cave, etc), with some peeks at the outside.


Combine audio from one video file with video from another

IF you have Win7, Movie Maker will do it.

If not, almost every video editing software where you can have more than 1 clip will do it.
If you thinking about doing some more stuff, you could use Hitfilm or Davinci Resolve.


How to create TS files from pictures and videos?

You can use the free DVDStyler to create DVDs.

It should also be possible to include photo slideshows, although I didn't test that.


Recommended Encoding for VHS to Digital to be Followed by Post Processing

VHS is already highly 'compressed', so capturing to an uncompressed format is likely overkill. For your purposes MJPEG with a reasonably high quality setting will preserve all your options and shouldn't degrade the images any further than VHS already has.

MJPEG goes by other names -- the idea is that it's all "I-frames". It is a lossy codec, but there are no interframe artifacts since each video frame is encoded separately.


Directional Blur is a feature of the VSE (video sequence editor), aka compositor.  When you open up Blender, select Video Editing as the Screen Layout.  Make one window a Node Editor (where you will introduce your directional blur node), and choose the Compositing view. Open another window as a Video Sequence Editor (where you will put your clips) and view it as a Sequence.  Then, either enable Backdrop in the Node Editor (so you can see your rendered result) or open a third window as a UV/Image Editor displaying Rendered Result.  You might have to set your render resolution to get 100% of your image (because the default is to render at 50% resolution, and while that just shrinks things for 3D worlds, it crops things for the compositor).

At the first frame, set the number of iterations to 1 and set a keyframe (right click).  Set the zoom factor to 0 and set a keyframe.  At the last frame, set the zoom to 1.0 or 2.0 or whatever you consider to be a maximum.  Tune up the number of iterations to whatever makes it smooth (could be 10, 20, whatever).  Keyframe those.

With your second clip (that you are zooming to), set the first frame of the effect to the same zoom and iteration numbers that you used for the last frame of your first clip.  Keyframe those.  For the last frame of the effect, set the iteration count to 1 and the zoom amount to 0.0 and keyframe those.  Then cross fade between the two.

In the middle you should have two very zoomed images that, when blended 50/50, look like they could logically belong to either image (because it's mostly just blurred pixels).

The above was checked with the latest release of Blender: 2.79b.


What you can do is add a blank 30 second segment in front of the camera stream, and then use the method in the ffmpeg wiki.

Basic template is

ffmpeg -f lavfi -i color=black:WxH:r=FPS:d=30 -i camera_input \
       -filter_complex "[0][1]concat[v]" -map "[v]" StreamingOutput

WxH should be set to the camera's resolution and FPS to its framerate.

And the 2nd command which is run 5 seconds after the trigger.

ffmpeg -i Streamingoutput -t 30 snippet.mp4


Does file size affect render speed in Sony Vegas?

It depends of codec/frame size in these files.

H.265 will render slower then H.264
FullHD will render slower then SD

More information about source files needed.


JVC 3CCD camcoder light changes during capture!

For consistent performance with any camera, you will want to disable any automatic functionality that may change with shooting conditions.  White balance, shutter speed, gain/iso and aperture should all be set manually.

If you need the auto-exposure, you may still get okay results by just setting the WB to a custom white balance (and setting the custom white balance to a grey card help up under the lighting). There would still be the risk of fluctuations in lighting level, but if the light levels actually do change during shooting, it would adjust accordingly.


How can I set the first frame of a video to an I-frame and the rest to P-frames (preferably with ffmpeg)?

What you want is a very long GOP or I-frame interval. I believe the ffmpeg option -g nnnn will do that, where nnnn is the length of your video in frames. I don't know how to specify "no B-frames", and this will certainly all be codec-dependent. Give it a try.


What camera to use for classroom/lecture recording?

have a look at these (I don't know your price range so I leave options in the link):

http://www.logitech.com/en-us/webcam-communications/webcams

Update:

For more professional solutions:

http://www.crestron.com/resources/product_and_programming_resources/catalogs_and_brochures/online_catalog/default.asp?jump=1&model=CAPTURELIVEHD

combined with:

http://www.crestron.com/resources/product_and_programming_resources/catalogs_and_brochures/online_catalog/default.asp?cat=1058&subcat=1506&id=2220


How do I automate the export different layers combinations ( turning on and off ) in After Effects

Templater can do this.
https://aescripts.com/templater/
You feed it a load of google (or excel or CSV) tables, with specified values, and it can churn through a load of files to export different comps with different arrangements.


Cleaning matte - remove areas smaller than x pixels?

I think adding a matte choker should do what you need. You can expand the matte using this effect.


Importing XML into Premiere Pro - numbered stills / image sequence

The answer is that this is not possible - at least as per the time of writing this answer, since the concept of "image sequence" does not exist in the XML spec Premiere utilizes - namely, XMEML version 4, also known as Final Cut Pro 7-style XML.


Issue Importing CineForm to Premiere CS6

Just browsing around C:/, and stumbled across CFHDDecoder.dll and CFHDDecoder64.dll in C:/Program Files (x86)/CineForm/Tools. Copied them to C:/Program Files/Adobe/Adobe Premiere Pro CS6, and the file now imports successfully.


How to stop Sony AVC/MVC encoder from adding 4:3 aspect ratio to 16:9 videos?

In project properties, set your pixel aspect ratio to 1.333 as well. Furthermore, make sure that when you right-click a video on your timeline that both resample is disabled, and try fiddling around with the "maintain aspect ratio" option. I have a hunch that it has got to do with these settings.

Try using different formats/encoders as well to see what effect that gives.


Like many products, teleprompters vary in price for a number of reasons. First, it helps to understand how a prompter works. A beam splitter, basically a two way mirror, is positioned between the camera lens and the speaker. It allows the light from the scene to reach the camera while the reflection of the display device, positioned below the beam splitter, is seen by the speaker.

In no particular order, some of the factors that influence the price are:

The quality of the beam splitter. Higher quality glass means less light loss to the camera.
The size of the beam splitter. Bigger glass equals bigger text.
The mounting system. How do the glass, camera, and display all attach to each other. Is it flimsy and the speaker will see the text bounce around with the slightest movement of the system? Will a light breeze shake the camera?
The display device. Do you have to supply your own tablet? Is it a high quality display to connect to a computer?
Software. Is prompter software included or do you need to supply your own?
Accessories. Tally and cue lights, confidence/feedback monitors, playback controllers are all options for various situations.


Can I reduce the delay between video frames?

It can be done with ffmpeg. I ended up using following:

ffmpeg -i input-file -vf "setpts=ifnot(isnan(PREV_OUTPTS)\,PREV_OUTPTS) + min(1000\,PTS - PREV_INPTS)" -c:v libx264 -preset ultrafast -crf 0 output.mkv

You can print expressions like this, which is useful for testing:

ffmpeg -i input-file -vf "setpts=print(PREV_INPTS)\;print(PTS - PREV_INPTS)\;print(ifnot(isnan(PREV_OUTPTS)\,PREV_OUTPTS) + min(1000\,PTS - PREV_INPTS))" -c:v libx264 -preset ultrafast -crf 0 output.mkv

Following documentation may be helpful:

https://ffmpeg.org/ffmpeg-all.html#Expression-Evaluation

https://ffmpeg.org/ffmpeg-all.html#setpts


Can I copy and paste all keyframed parameters (settings and effects) from one layer to another in Adobe After Effects CS6 within a single composition?

If you go to the sequence window you can hit uu (that's double tapping the u key), to show all modified properties. Then copy all the keyframes and values (drag the cursor over the whole timeline area, including the I-beams for non-animating properties (the ones that are highlighted in blue) and copy.

If you want to copy properties that are default for one layer on to another you could use ~ instead of uu, that will show all properties of the layer.

Note that there are some effects and properties that you can't copy, they're usually things that have a custom value, like the source layer for effects that use other layers, e.g. compound blur.


If it's just a matter of which FOURCC to assign, and not the codec, then choose MP4V since it has broader compatibility, and the tag can always be changed later, using a tool like ffmpeg i.e.

ffmpeg -i input.avi -c copy -map 0 -vtag DX50 tagged.avi


How do youtube professionals record audio for their video?

If you are referring to tutorials or commentary then yes, you would record the original performance (perhaps with computer sound), while thinking of your audience. When I record tutorials for software, I often perform the example while talking, then go back and edit it down to a reasonable length. I remove unwanted sound, then re-voice the finished edit from a script (doesn't have to be fully written, can be bullet points).

This way I can make mistakes in delivery and restart as many times as I like.

Then i lay that recording back over the edited pictures. At this point I may find that I need to make the video longer to accommodate the new voice over. So there is a little bit of give and take. It is quite hard to manage picture lock without sound.


How to show audio keyframes in Adobe Premiere CC?

You need to expand the track to be large enough to see the waveforms and overlaid keyframes.  Mouse over the horizontal line that divides A2 from A3, drag downward, and your waveforms and keyframes should be revealed.

If you right-click in the waveform area, you have the option as to which keyframes it will display in the window.  By default it's Volume:Level, but it could be Panner:Balance (or others).


why movie video is different from other videos (sports, news, or other)

Movies have certain "looks" to arouse certain moods. The lightning and color depends on the intention of the movie and each individual scene.

Let's take the picture you linked as an example:

The footballer is lit by the floodlights in the stadium. He is lit from every side so that you can see as much as possible, there is little shadow and contrast. The movie scene with the delightful workers is very different: There is a leading light coming from the left, with shadows on the right side. It may look like sunlight, but this was most likely achieved with a set of spotlights. At the very least, you usually use three different lights coming from different directions. This is called three-point lightning. From Wikipedia:

  The key light, as the name suggests, shines directly upon the subject and serves as its principal illuminator; more than anything else, the strength, color and angle of the key determines the shot's overall lighting design. [...]
  The fill light also shines on the subject, but from a side angle relative to the key and is often placed at a lower position than the key (about at the level of the subject's face). It balances the key by illuminating shaded surfaces, and lessening or eliminating chiaroscuro effects, such as the shadow cast by a person's nose upon the rest of the face. It is usually softer and less bright than the key light (up to half), and more to a flood. [...]
  The back light (a.k.a. the rim, hair, or shoulder light) shines on the subject from behind, often (but not necessarily) to one side or the other. It gives the subject a rim of light, serving to separate the subject from the background and highlighting contours.

Of course, aside from the lightning, the garments, stage props and the likes are also picked carefully. Imagine how you would react to a shiny red plastic bag in Bilbo Baggins' Hobbit-Hole ...

Then there is post-production, which has a huge role in creating a movie's look. Color-grading is the process of deciding upon a desired look for each scene and then adjusting the colors in this scene to have a coherent appearance. Take a look at movies in color, a great website that analyses movies and creates color palettes to show which colors are dominant in a movie. For example, this is the color palette of Sherlock Holmes: A Game of Shadows, which uses mostly blue-grey colors:

More palpable, this is a collection of ordered stills from James Bond: Quantum of Solace:

As you can see, each scene has a specific color range that is used to convey certain moods. The color-grading process is very difficult, there are people who do nothing but that for a living ...

Tl;dr: The speficic look of a movie is achieved through a combination of sophisticated lightning techniques, the choice of stage props and post-production efforts.


How can I remove the background of a video if the background is still?

In your sequence, place a still frame of the background with your footage place above.

  V2: Footage
  V1: Still frame of background

In the Effects panel, find Video Effects > Keying > Difference Mask. Drag this effect onto your footage (the top-most track).

In the Effects Control panel, set the 'Difference Layer' to match the track with the still frame.

Hide the still frame (bottom track) using the 'Toggle Track Output'. The background will now be transparent.

Inconsistencies of lighting, shadows and movement of the background will have a big effect on the quality of the outcome.

Avoid casting shadows on the background by keeping the scene well lit. Be aware of objects in the background moving.

If necessary, use a combination of color keying (a wall with a solid colour that contrasts with the subject) as well as masks to hide parts of the footage where no movement occurs.


Overlaying transparent video onto base video with custom positioning

The overlay filter is set to end with the shortest input, which here is the intro. So, the video output stops generating after that, so a typical video player holds the visual on the last frame.

Also, if your intro already has transparency, you can skip the format and ccm filters. In the command you took them from, the inputs did not have transparency in the source.

(Unless you are resizing the videos, you can skip the scale as well.)

Use

ffmpeg \
    -i main-video.mp4 -i intro.avi \
    -filter_complex " \
        [0:v]setpts=PTS-STARTPTS,scale=2550x1080[top]; \
        [1:v]setpts=PTS-STARTPTS,scale=1920x1080[bottom]; \
        [top][bottom]overlay=x=(W-w)/2:eof_action=pass" \
    -acodec aac -vcodec libx264 out.mp4


How can I correct shadow/highlight with free software?

If you have Davinci resolve, use it. If you do have it, get it and use it :o)

There are several ways to handle light and shadows, you just need to understand that lights are normally the light zones and shadows, the dark... Pretty obvious.

On Resolve, you can use the color panel.

Boost or lower the highlights on the gain wheel.
Or use the curves and
Move the curve.
And see the results here.

There are more advanced ways to do it, like selecting color ranges, and you can find tutorials on the internet. But the tools are there.

Keep in mind that on the overexposed areas, if the range is clipped, no program will recover information where there is none to recover.


After Effects - Green Screen - Non keyed, overlapping areas make final result look bad

Try using the advanced spill suppressor preset technique instead. I’ve found it to work better but take longer to render:


kazam no sound and no red border for screencast

I tried xvidcap which I used to use before kazam, but after building it from source, I found it records each frame in a separate xwd file. So the solution appears to be to give up on kazam, just like on xvidcap.

I found that ffmpeg can be used to record a screencast like this. First, find out the screen resolution

xrandr

next, find out the audio source - we are looking for the number of the source that says alsa_output

pactl list sources

then start the screencast

ffmpeg -video_size 1920x1080 -framerate 20 -f x11grab -i :0.0 -f pulse -ac 2 -i 4 output.mp4

in this command, 1920x1080 is the screen resolution output from xrandr

-i 4  is the source number of alsa_output from pactl list sources

-ac 2 set 2 audio channels

-f pulse expected format is pulse audio

-i :0.0 video input from main screen

-f x11grab video input format is X server output format

the video is saved in output.mp4 and to stop the screencast, go to the terminal window and control-C


Recompressing 1080p h264 collection to HEVC - Target Bitrate For Minimal Loss

I've transcoded some of my AVC (h.264) 1080p movies to HEVC (h.265) with 2 pass encoding (using my GPU) and target bitrate set to 50% of original. The other streams (like audio and subtitles) were only copied into the new file.
Mostly I'm using Potplayer to play these files with Madshi renderer, and I can't see any difference on a 55" 4k HDR TV with naked eye. The only thing, that I've noticed at some movies, if there are dark scenes with big black backgrounds, the transition from one shade of black (dark grey) to another is built from much more bigger blocks in HEVC, like in AVC version. I say again, these blocks are visible both on AVC and HEVC but only in some of the movies and in HEVC they are a little bit more noticeable.
But I'm only a home user, I'm not making professional videos and the 15GB video file vs the 30GB worth it to me.


What hardware do I need? Multiple audio input devices + BMCC video to Media Express

The page you want to look at is the "Capture and Playback" page of the Blackmagic Products page.  Any device on that page that says "four analog audio inputs" is a good bet.  Media Express does indeed have the ability to record audio and video from an SDI input, and also audio-only from audio-only inputs, giving you a multichannel media file that you can then edit in post.

However...I strongly suspect that the analog inputs of most (if not all) of these devices are line-level and don't supply phantom power.  Depending on what sorts of microphones you have, that could be one or two reasons per channel you will not get a satisfactory result.  Not to worry...you can buy a pair of microphone preamps that take mic-level inputs, possibly provide phantom power (if your mics require it), and deliver line-level signal to your audio inputs.

However, again...many of the products you listed above are OK for use in a post environment where computers (and their noise) can be sequestered from the operator, but they could be a real nuisance when used on location.  Not only is it an ergonomic pain to try to use a computer along side a camera, but when the computer's noise is recorded via the microphones, it adds injury to insult.  There are good reasons that people buy external recording devices and then marry the sound in post: they have mic-level inputs, they support recording multiple inputs to multiple tracks, they usually have long battery life, so can be used on location easily.

If you absolutely must use your computer with your camera, the BMD products will do a good job (provided you have the right signal levels, which you can get with a preamp).  Otherwise, I suggest looking at the ZOOM field recording devices.

Finally, if you plan to use the audio from the BMCC camera, be advised that it's really only good for sync.  The camera's built-in microphone picks up mostly fan noise, and its audio preamps are terrible.  But for scratch audio, it will tell you where the clapper is, and that's a help.  The headphone out jack can feed audio to the ZOOM, and you can plug your headphones into the ZOOM.

If you go with the external recording device, then you pretty much leave behind the world of Media Express.


You can't get "dynamic resolution" because essentially that would mean that some of the time you used a 4K display (for example) to show a 2160P image and some of the time you displayed a 1080P image by pixel doubling - so either way it's 4K but what you could gain (IF there were such a Codec) is an increase in the compression, and that's where you should look.

The h265+ Codec developed by HikVision analyses the image frame by frame and decides what is important and what can be compressed to a greater extent, relying upon prior frames to have the data to 'fix' where the extreme compression was used - it can be decoded with a standard h265 (non plus) decoder.

Here is a quote from their Website: "The average decreased rate between H.264 and H.265 is 47,8%. When applying Hikvision H.265+ the decrease rate increases to an average of 83.7 percent.".

Here's the explanation of this: http://www.hikvision.com/europe/Press-Release-details_71_i14097.html

PDF: http://www.hikvision.com/upload/20161209211521855.pdf

As far as I know it's only available as Hardware in HikVision's cameras, if someone knows where there's an Open Source version of h265+ I'd sure like to know - thanks.


When receiving frames from a raw input i.e. one without embedded timestamps, ffmpeg will assign timestamps in serial order, thus losing the temporal relation between the incoming frames.

When the difference in times is important, you can add -use_wallclock_as_timestamps 1 before the input -i. This will assign the system time at time of receipt as the timestamp. Not perfect, as there may be jitter during the transport of the input, but better than the default behaviour.

vsync is somewhat of a misnomer. It takes effect after filtering and is generally used to select between generating a constant (cfr) or variable frame rate (vfr) stream.


Assuming both MKVs are rips of NTSC DVDs, these are the commands you need:

For 4:3 video

ffmpeg -i "input43.mkv" -vf "scale=640x480,setsar=1,pad=854:480:107:0" [etc..]

For 16:9 video

ffmpeg -i "input169.mkv" -vf "scale=854x480,setsar=1" [etc..]

(Note H.264, the codec you are likely using, needs dimensions to be even, so specifying 853 as width will lead to ffmpeg feeding 854 pixels to the encoder and then auto-setting a funky SAR.


How to append or join multiple times a video file (single file) to make a 10hour long video of that same file using ffmpeg? is there a way?

You can use the Windows command line (DOS or cmd) using copy /b 00001.mts+00001.mts K:\Merged.mts as explained in this step-by-step tutorial, where in your case 00001.mts is the identical file repeated over and over again:

https://photography.tutsplus.com/tutorials/3-free-ways-to-join-spanned-avchd-video-files-into-continuous-clips-on-windows--cms-25830

Connecting the same file 6 times instead of twice, you would just replace in
00001.mts+00001.mts+00001.mts+00001.mts+00001.mts+00001.mts


YouTube's 60fps runs smoother than games?

If you're comparing PC games to Youtube video shot with a camera (as opposed to Youtube video of games captured via HDMI), then you're probably noticing the natural motion blur that cameras introduce.  Gaming hardware can't reproduce this effect very well because it either has to render intermediate frames and blur them together or perform "optical flow" or vector-based analysis in real time.

If you are, however, asking about Youtube videos of video games (which presently comprise most of Youtube's 60p content), then my only suggestion is perhaps a performance difference between your machine and the ones in the videos.


Getting Started with Webcasting and Video conferencing

Blackmagic and Livestream are your friends :)

You probably want to get 3 cameras - one for the priest, one for roaming action shots and one for the audience. You'll need a whole bunch of microphones and an audio mixer. But you probably already know all this.

Buy a Blackmagic TV Studio and buy a Livestream Broadcaster - plug the TV Studio's HDMI output into the Livestream Broadcaster and plug a computer into the TV Studio's ethernet port. You use the computer to control the switching between cameras and the Livestream Broadcaster spits it out to the Internet using Livestream's servers. Make sure where you're broadcasting from has a fast Internet connection.

Lots of churches seem to have projectors these days, so you can plug the output from your projector's source (use a splitter of some sort, and a scaler to match the frame specs as the cameras) into the TV studio too, and add what's on the projector into the mix as well.

You can replace the Livestream Broadcaster with a computer, but the Livestream Broadcaster is cheaper, more flexible and more reliable, in my opinion.

I guess this is a starting point - but if you want more info, just post and I'll answer any questions :)


How to prevent users from downloading videos?

Unfortunately, no, that's the entire reason DRM exists.  It is a bit like trying to prevent someone from recording an on-air broadcast.  When you send video data over the internet to someone's player, they can simply store the information being sent to the player unless you obfuscate it and make it so that the player will only work under certain circumstances and will not share the data.  This, by definition, is DRM.

What DRM attempts to do is control the reading of the data entirely, so that it can not be copied.  This has varying degrees of success and rarely, if ever, works particularly well.  It may keep honest people honest, but if you are sending someone data in a way that they can access it, measures to try to stop them from copying it are... difficult.  The most advanced systems use special display drivers and encrypt the data right up to the point it is being displayed on the screen (HDCP), that way other software on the computer can't directly pull the information off the frame buffer being prepared for the screen.

There may be some ways you can mildly obfuscate the access to your video, but ultimately, if you send it in the clear, it is trivial for a knowledgeable viewer to store the datastream.  If you use DRM, it is substantially harder, but still likely to be able to be worked around by a dedicated attacker.


Dash will not playback on iOS safari. You can create an HLS manifest however and reuse the same dash assets and play that.


Crazy blue video issues/artifacts on export

Make sure your export settings are really what your camera films. Are you filming interlaced? Your settings suggest so, since it's rendering the upper field first, however, it could be that your camera films progressive. You can check whether your system records 25i or 25p for example. Also, is the pixel aspect ratio (par) really anamorphic (1,33)? Meaning, did you use a very stretching lense which costs about 10k dollars? If not, set the pixel aspect ratio to square (1).


Use ffprobe or ffmpeg to list ony english tracks

The command will show entries for those English tracks which have been assigned a language tag of eng:

ffprobe -show_entries stream=index,codec_type:stream_tags=language -of compact video.mp4 -v 0 | grep eng

Output e.g.

stream|index=1|codec_type=audio|tag:language=eng

(On Windows, use findstr eng in place of grep eng)


As a photographer, a flash is simply a very short burst of white light (as you're no doubt aware). The maximum time at full power is usually around 1/250th of a second, which is equal to 1/10th of a frame. In that case, if you were to accurately represent a flash being fired, you would simply boost the exposure of a single frame by several stops (to make it almost completely white, whilst retaining a little bit of detail).

Something as simple as this would suffice.

For one frame.

If you really wanted to be technically accurate, you could simulate the CMOS flicker of a flash by only boosting the exposure on a horizontal portion of the frame, say the top 2/3rds or something.


Cheapest way to convert from toslink to 4 channel analog audio?

I use a Behringer ADA8000 for this - it converts toslink to 8 channels of analogue, and vice versa.  It works well, and is relatively inexpensive.


Does repeatedly saving a video degrade its quality?

MP4 isn't an ideal format for intermediate saves. If you know you'll be re-opening the file, save it as losslessly as practicable, and use MP4 only for the final output.

That said, depending on the encoder and settings you probably don't lose much if anything on subsequent saves. MP4 and similar codecs work by decimating the higher frequencies (details, resolution) in a predictable way. Once you've saved an MP4 at a particular quality setting you've already discarded the information. If you save again using the same settings, there's no information to lose in the areas that have already lost it.


How can I change the default Production file save location in Camtasia Studio?

In camtasia, if you choose a certain location that it will store it in your used places. Then you can access it easily through the dropdown list. Here is an image:

It isn't possible to change the default output folder though....


How do I 'downgrade' an Adobe Premiere Pro project file to open in older versions?

Since this is the top google result, I would like to give the actual solution to this problem

Option 1

Duplicate the .prproj file you want to downgrade and name it temp_downgrade.prproj or something. Just so you don't have to mess with the original.
Download 7zip.
Right click on temp_downgrade.prproj and select Extract here.
You should see temp_downgrade next to the original temp file with no .prproj.
Now right click on the temp_downgrade file and open it with a text editor.
You should see a couple million lines of confusing text, ignore it. you are looking for the 4th line, it will look like this:

<Project ObjectID="1" ClassID="62ad66dd-0dcd-42da-a660-6d8fbde94876" Version="29">

That version=29 (or whatever it says in your file, could be any number) is what you have to change. Simply set it to 1 so the whole line reads:

<Project ObjectID="1" ClassID="62ad66dd-0dcd-42da-a660-6d8fbde94876" Version="1">

Save the changes you've made to the file.
Now right click the temp_downgradefile - remember the one without the .prproj - extension and select add to archive under 7zip .
Change archive format to gzip and change the file name to be something. like temp_downgraded.prproj. Doesn't really matter it must end in .prproj though.
That's it open temp_downgraded.prproj like a normal premiere project and it'll ask to upgrade the file or something. Save the copy somewhere permanent as that's where any changes you make will be saved. You can delete all the temp files now.

Here is a gif of the whole thing.

Option 2

EDIT 2018: This tool mentioned in an answer below mine seems great! http://joshcluderay.com/downgrade-premiere-project-converter/

If you would prefer a local open source version, I also made a small JavaFx app that should automate everything in Option 1. You can download it for a Mac/Windows computer with Java(!) installed. Over here.

Are there any consequences from doing this?

Not reeeeeally. At least - it's much less than the current accepted answer on this thread. If you export something as an xml file on premiere you will effectively lose most of the editing you've done. Aside from maybe the most basic sequences. All the colour correction, Sound work, etc is gone. With this method - yes some of that will disappear if you are working on an old enough version of premiere. But, I'm talking like five years old. If the difference is CC2017 and CC2016. Sure you'll lose any effects that only exist in CC2017. But I would bet this is mostly niche stuff and 99.999% of your project will probably be fine! But - even if it isn't - say you make some small changes to your downgraded version on CC2016. If you copy the downgraded version to a computer with CC2017, after the changes have been made. All the newer features will still be there. So as long as you render on the computer with CC2017 nothing will be lost.

tl;dr: Obviously there are some cases where you could lose information, but if you just need to make minor edits or fix something small on your home computer then take it back to work or something - this is fine.

Why this works?

Apparently adobe save files are just gzipped xml, so that's why. Should work on AfterEffects as well.


General speaking, you can not split already encoded video into some chunks with arbitrary length without re-encoding.

The simplest way to make a cut is to get content between IDR frames. You could split your video sequence into segments that contain arbitrary number of GOPs (sequence of frames starting with IDR frame with length to next IDR) each. In this case, you could just copy the content without re-encoding.

So, you goal is to find out appropriate IDR frames, that satisfy you clip duration, and make a cut with copy. You lucky ffmpeg use -noaccurate_seek for copy. You could point start position by -ss and duration with -to near IDR.

You could face some challenges here:

original video sequence has a variable GOP length - clip duration
won't be the same;
original video sequence has an infinite GOP
length (only first frame is IDR) - impossible to split it without re-encoding;

In your example you should move -ss and -to options before -i, because you want to seek start position in the input video.


Cutting scene results in choppy transition

The two most common approaches, if you don't have B-roll coverage, is either a dissolve (usually a cross-dissolve) or a fade-out/fade-in (usually dip-to-black).  Garish effects (essentially all the others offered in a typical NLE) can also be used (but are usually avoided).

IF the clip you are cutting out means joining what looks like a single take (with a discontinuity in the middle), the dip is your friend.  If the clip you are cutting out takes you from one scene to another, the cross dissolve can also work.  A series of cross-dissolves can work to show the passage of time (where the camera stays fixed and the subject is seen doing on thing, fading into doing another, etc.).


If you have a frame where the person does not exist, you can use a tool called a difference matte. (You'll need to scroll down to the section titled "Difference Matte Effect" for a description.) It will find a difference between the frame without the person, and the frames with a person and remove areas that are the same, leaving only the difference (in this case the person). As linked, After Effects has such a tool. Many other video editors have it as well.


how to fix a stuttering camera pan movement?

I think the Adobe article you linked to spells it out pretty well, especially with respect to the "7 second rule". I think you're just panning too fast.

Fast pans don't like sharp lines that run counter to the pan's motion. If you absolutely must pan at that speed, you'll need to reduce detail (ie, contrasty edges) during the fast pans.

So for starters, I think you need a lot of motion blur. I wouldn't start by using an effect to create motion blur, though. Instead, try using AE's built-in motion blur. Assuming you're in the comp that has the motion keyframes, turn on the motion blur switch for your Painting layer (the little balls icon):

..and then enable motion blur globally using its global toggle button:

Now you can adjust the shutter angle, samples, etc by going to the Advanced tab of the Composition Settings. Set the shutter to the max value 720 just to see if it helps. Lower the value until the judder begins to return.

Adding some grain may help imperceptibly reduce some detail, too. (You can simply create a 50% gray solid, add the Add Grain effect, and set the transfer mode to Overlay.) Play with intensity and size, and monochromatic vs color grain, to see what feels best.

Lastly, I don't think CC Force Motion Blur is a good choice in this case. If the built-in motion blur described above still isn't 'smeary' enough to get rid of sharp edges during pans, try Pixel Motion Blur instead, and set the shutter to something high like 1000 (just to see if it fixes the problem) and then lower the value until the judder begins to return.


Create Alpha channel-Videos (obs stinger compatible) with ffmpeg and 2 files

The alphaextract/alphamerge filters are meant for this.

Since your alpha reference is already greyscale, we only need the alphamerge filter

ffmpeg -i main.mp4 -i alpha.mp4 -filter_complex [0][1]alphamerge,format=yuva420p -c:v libvpx -auto-alt-ref 0 out.webm


Premiere CS6 hanging on ExporterAVI.prm after an upgrade from Vista 64bit SP2 to Windows 7

This is most likely related to an AVI codec not loading properly after the upgrade.  In my case, I had the Matrox VFW software codec installed.  Uninstalling it and installing the newest Windows 7 version fixed the problem.  Clean up your installed codecs and reinstall updated versions of the codecs you need and the problem should be resolved.


Final Cut: how to playback sequence while capturing video?

As far as I recall, you can't.  I would tape your solo on your camera while playing your time line and then importing that video back into FCP once it's done.


Basic command is

ffmpeg -i in.mp4 -vf crop=iw:ih-25:0:0 -c:a copy out.mp4

Note that MP4s usually require the dimensions to be even, so the command above will actually crop 26 pixels from the bottom.

On linux, using bash, the script would be

#!/bin/bash
# Usage: ./crop.sh

mkdir cropped
for file in *.mp4;
do
    ffmpeg -i "${file}" -vf crop=iw:ih-25:0:0 -c:a copy "./cropped/$file"
done


Is there a way to upscale without re-encoding?

To get from 1080p to 4K you're going to need to re-encode, but container won't matter (much), so 16bit png is overkill just for the sake of 4K.  H.264 works fine.

But before you spend the time to upsample, you should double-check to make sure that you actually need to.  Most modern 4K televisions upsample 1080p on the fly.  Most mobile devices aren't high enough resolution to display 4K.  If you can leave your project in 1080p and let the display device do the work, then you're already done!

But if you're sure that's what you need, remember that normal, traditional methods of upsampling such as bicubic or bilinear interpolation don't really increase the actual resolution of the image.  Sure, the output pixel dimensions will change from 1920x1080 to 3840x2160, but the new image size just comes from (to over-simplify) doubling each pixel's width and height.  In other words, the basic scaling algorithms don't add any information to the image, they just make the 1080p "bigger."

There are newer, fancier upsampling algorithms which use sophisticated methods to scale images.  Photoshop calles theirs "Preserve details 2.0." DaVinci Resolve calls it "Super Scale."  After effects calls it a "Detail Preserving Upscale" effect, but they're all very similar methods of upscaling an image while preserving sharpness.  Bear in mind that none of these methods actually add information to the image, either.  They're just a tad better than ordinary, re-scaled 1080p.  They're also fairly computationally expensive.

In a perfect world, the best thing to do is to shoot in a resolution that's at least as high as your deliverable, but preferably higher, and then downsample.  When that doesn't happen, you'll have to evaluate the importance of having a higher resolution and weigh that against the extra time and effort it takes to generate such an image.

4K is still pretty difficult to work with under many circumstances, in terms of bandwidth requirements, latency, storage, etc.  There's a lot of overhead that goes into those extra pixels, and it's not exactly a 1:1 relationship.  Quadrupling the number of a pixels means you can expect MORE than four times the effort to complete a project, especially if you're working with long timelines, multiple streams, multicam, effects, etc.


Standard software for producing video with AR effect

There are a couple of ways to obtain such a result. You can record a video and add these objects using editing software like after effects or blender. This software can track the surfaces and you can add any 3d objects. The second way is to build an AR app using unity or an unreal engine. This method is good and you can use this with any surfaces, unlike the first method. You can find out more from here


FFmpeg: Convert mp3 & album art to video in one step?

I know that you were trying to find a way to do this in a single step. However, for those who stumble across this question, it's much easier to chain two ffmpeg commands like so:

ffmpeg -i in.mp3 -an out.png && ffmpeg -loop 1 -i out.png -i in.mp3 -c:a aac -ab 256k -c:v libx264 -pix_fmt yuv420p -shortest -strict -2 out.mp4

Note that this reencodes the mp3, as it's not a supported codec in mp4 containers.


How to clean Lightboard after recording marked with Neon markers

Recommended cleaning is to only use glass cleaner, and this should work in a matter of seconds (assuming you have used the correct markers)
You will want a glass cleaner which contains both a solvent and a surfactant. Most big name ones do.


This is possible but will require scripting. ffprobe will be used to determine the duration of the input, then the countdown and background box will be created by the drawtext filter.

A 30 second input will start from 30 and count down to 0.

Example:

input=input.mp4
duration=$(ffprobe -loglevel error -show_entries format=duration -of default=nw=1:nk=1 "$input")
ffmpeg -i "$input" -vf "drawtext=fontfile=OpenSans-Regular.ttf:text='%{eif\:$duration-t\:d}':fontcolor=white:fontsize=24:x=w-tw-20:y=th:box=1:boxcolor=black@0.5:boxborderw=10,format=yuv420p" -c:v libx264 -c:a copy -movflags +faststart output.mp4

If you prefer rounded corners you may be able to make a PNG file with alpha, and then place it in your desired location using the overlay filter. Doesn't seem worth it to me though.
If you find the duration from ffprobe to be inaccurate then you will have to completely decode the file to get the actual duration and then parse the console output. One method would be: ffmpeg -i input -f null -.
This may be possible to do without ffprobe but I don't have an alternative method at the moment.
You can combine this filterchain with the one from ffmpeg drawtext filter - create transparent background with text to get exactly what you want. An oversimplified command could then look like:

-vf "format,drawbox,drawtext,drawtext,format"


Discrepancy between VirtualDub CPU usage and Task Manager, Lag resulting

EZ Cap is an extremely cheap capture device and may be dropping frames itself.  You may also want to check if things are spiking any.  Can it play back video without recording it and if so, is it still dropping frames?  If so, then it is likely a hardware problem.  If you are plugging it in to a non USB2.0 port, that could also cause problems.

I would recommend trying a low compression codec and see if that will work.  It will use lots of disk space but take a minimal amount of CPU.  You can then encode the intermediate format to a good quality high or moderate compression format to save on space.


Increase Volume of a specific mxf channel with ffmpeg

The command template would be,

ffmpeg -i in.mxf -map 0 -c copy -filter:a:2 volume=2 -c:a:2 pcm_s16le out.mxf


Programmatically detect 'packed B-frames' AVI files

Right now, the best I could find is:
$ ffmpeg -y -hide_banner -v info -i packed_bframes.avi -ss 0 -t 1 -an -c:v mpeg4 -f null /dev/null 2>&1 | grep mpeg4_unpack_bframes
[mpeg4 @ 0x559262225100] Video uses a non-standard and wasteful way to store B-frames ('packed B-frames'). Consider using the mpeg4_unpack_bframes bitstream filter without encoding but stream copy to fix it.


Screen cast and capture video cam and show both on screen using ffmpeg

This solution works in Linux.
To screen cast with inset video of yourself on screen where you have a video camera that is located at /dev/video0, paste the following into a text file and name it start_recording.sh or something similar and make it executable

#!/bin/bash

#####  set variables below ####

location_dir=$HOME/Desktop

T="$(date +%d-%m-%Y-%H-%M-%S)".mkv

#echo $T

video_window_title="$T"

#echo $video_window_title

####  Place video camera on own screen & detach the process  ####
ffplay -window_title "$video_window_title" /dev/video0 &

####  Record everything on the screen  ####
ffmpeg -y -f x11grab -s \
`xdpyinfo | grep 'dimensions:'|awk '{print $2}'` \
-i :0.0 -f alsa \
-i default $HOME/$T

To stop recording, paste the following into a text file and name it stop_recording.sh or something similar and make it executable

#!/bin/bash

# kills the ffmpeg and ffplay processes
pkill ffmpeg && pkill ffplay

The below two line script will make your inset video the always on top window, or not. Simply put the below two lines below in a text file, call it something like toggle_video_inset_to_always_above_layer_or_normal_layer.sh or something you can remember, and make it executable.

#!/bin/bash

wmctrl -r $(wmctrl -lx | grep ffplay | grep -oE "[0-9a-z\._-]{20,25}$") -b toggle,above


Premiere Pro - How to make a slideshow/compilation

Premiere Pro has a number of default transitions under the "video transitions" tab in the effects pane (usually located in the bottom left of the window). Are those what you are looking for? If you have experience with After Effects, you could also use AE's more robust effects library to animate interesting effects for your videos.

Based on your included image, it looks like you might be interested in wipe transitions.


This is very straightforward to set up, yes. Because you can fill up SD cards very quickly with the resolutions these are capable of, you could run one at 1080p for longer duration, but that's still not going to stretch to 6 hours.

For that length of game you will want to have it connected via USB to a PC of some kind recording the video feed directly to disk, and providing power.

Relatively simple - and in fact using the default software that comes with the GoPro Fusion, you can pretty much do that out of the box.

As the Fusion has voice commands, that can also make for a very unobtrusive recording station.


Stop video (something like a screenshot) in Hitfilm 3 Express

The usual way to do this is with a speed effect.  Create a cut around the one frame you want to render as a still.  Your timeline should look like this:

motion-before | single frame | motion-after

You can then place a speed effect on the single frame, slow it down to 0% playback speed, and it will happily play forever if you want.  Stretch single frame to 5 seconds of length (120 frames at 24fps) and then composite your text on top.

People do this all the time.  Some applications have a "freeze frame effect" which is precisely setting the speed to zero for a default number of seconds.


ffmpeg: convert an existing audio stream as an additional audio stream (keeping untouched original as well)

ffmpeg -i input.mkv -map 0:v:0 -c:v copy -map 0:a:0 -c:a:0 aac -b:a:0 512k -map 0:a:0 -c:a:1 copy -map 0:s:0 -c:s:0 copy -metadata:s:s:0 language=eng -map 0:s:1 -c:s:1 copy -metadata:s:s:1 language=fre output.mkv
Stream #0:0 -> #0:0 (copy)
Stream #0:1 -> #0:1 (truehd (native) -> aac (native))
Stream #0:1 -> #0:2 (copy) # truehd 7.1
Stream #0:3 -> #0:3 (copy) # (English subtitles)
Stream #0:6 -> #0:4 (copy) # (French subtitles)

If I've done this correctly it should only copy or encode what you asked for and nothing else..
-canvas_size 1920x804 (WidthxHeight of video.. Is needed to copy DVD & Blu-ray picture based subtitles over..)

And on a side note:
-map 0:m:language:eng (Missing Index on which stream metadata should be changed)
-map 0:m:language:fre (Missing Index on which stream metadata should be changed)
-c copy (This will copy all streams over regardless of mapping..)


Best way to trim and save an existing mp4

You can use ffmpeg, a free command-line tool, to do this

Without recompression

ffmpeg -ss 02:45 -t 03:05 -i orig.mp4 -c copy -map 0 -avoid_negative_ts make_zero cut.mp4

This will copy a 3m 5s portion of the original MP4, starting at 2m 45s. Since the codec of the video stream in a MP4 usually uses temporal compression, the cutpoints may not be exact and some frames before and after may be included in the trimmed file. Since there's no recompression, quality is identical to the original.

With recompression

ffmpeg -ss 02:45 -t 03:05 -i orig.mp4 -c:v libx264 -crf 20 -c:a aac -b:a 128k -map 0 cut.mp4

This will precisely cut the specified portion but will recompress the content. The crf value controls the video quality - smaller value produces better quality but a larger file. The b:a sets the bitrate of the audio output.


Converting iCop Encrypted DAV to AVI or MP4

My company software Amped FIVE supports the conversion of hundreds of proprietary DVR formats, including the DAV. I am not sure we ever encountered an encrypted DAV, though it may be worth a try. Feel free to contact me to evaluate your file.

I fully agree with you that screen capture is the last resort.


Is it common for voice actors to have their own equipment?

Yes, unless you want to pay more than you will get for simple jobs. Transportation + Studio recording fee.

Get a USB microphone https://duckduckgo.com/?q=usb+microphone There are some not too expensive.

Before buying one read some reviews and HEAR some reviews, youtube is a good place for it.

You could start with a cheap one, and if the business is for you, get a more pro mic for cleaner and brighter sound.

  Are there sites where you can register as a "voice" actor

Yes... if you are one. But you are not yet, you do not even know if you would like to do that. Like all activities, you can become good at something or just not.

So, first of all, try youtube, publish some video narrating a story, try royalty-free classic stories, (you can not simply buy a book and use it, even if the original copyright has already expired because the version could still have it)

Find noob writers and ask them about recording one story and make a channel.

You also can use a website where people pay a small fee, like Fiverr, record some demos, and see if people are willing to pay you for the quality of work you offer.

Compare prices. Do not offer the cheapest price or you will never know if they want you for the price or for the quality.

If it is a feasible road to you, you need to take courses. Again, there are pro-people and people that just want to play doing stuff. There is a lot to learn in the field. As a talent to be nurtured and as a business.

Final note.

Do NOT do something because your friends tell you. Do something because you want to!

One edition to make the answer on-topic on this video production site:

Offer your voice as a voice-over talent for documentaries with a small budget.


Calculating duration when changing playback speed

If you speed up, you simply devide the length by the factor.

For 1,5 : 1 / 1,5 = 0,666...

For 2,0 : 1 / 2,0 = 0,5

For 3,0 : 1 / 3,0 = 0,333...

It is similar to fast forward a video tape in good old times.

If you forward, you usually have factor 2,0, which means it takes 90 minutes to go through a 180 minute tape. If you fast forward, it is - let's say - factor 120,0, it can fast forward/rewind the tape in 90 seconds.


Turns out the answer is yes. Such format is called CinemaDNG and is used for professional video production since 2009.

Here's the spec for the format: http://download.macromedia.com/pub/labs/cinemadng/cinemadng_p1_spec_091009.pdf

Among other things it supports:

Integer sensor values of any bit depth from 8 to 32 bits
Arbitrary size color filter arrays with up to seven color channels
Black level, white level, and linearization parameters for scaling of sensor values
Color-processing parameters for mapping camera RGB to CIE XYZ color space

Adobe's Creative Suite supports CinemaDNG on both Windows and Mac OS platforms since version 4 and the codec (at least for Windows) is available from Adobe's website: http://supportdownloads.adobe.com/product.jsp?product=194&platform=Windows

There are other products out there that process video in CinemaDNG format, some even with GPU (CUDA) support.


How scale rectangle in one direction without roundness scale

Assuming this is a shape layer created with the rectangle tool, you can solve this by going to Shape Layer 1 -> Contents -> Rectangle 1 -> Rectangle Path 1 -> Size, and unchecking the icon that looks like two chain links, and then changing either of the two numeric values independently to change either the width or height of the rectangle, without changing or distorting the roundness.


DaVinci Resolve ignores MOV (QuickTime) metadata

I wrote a simple LUA script extension that can be executed from Workspace > Scripts toolbar after copying the script to {resolve directory}/Fusion/Scripts/Comp. Here's the source code. Currently the number of EXIF fields is limited, but can be easily extended.
The script tries to match media files from Media Storage with media clips in Project's Media Pool. EXIF data are parsed using exiftool. Currently should work on Linux/Mac OS, but can be easily ported to Windows.


the videos that I recorded on my Canon DSLR are nowhere to be found

Usually, even deleted files are still on the disk until they are over written by some other file. Try running file recovery software such as Recuva or Puran. Be sure to read the software user guides before starting.
However, I once got caught out looking for files on a card when the device was actually saving to it's built in storage. I am not aware of any canon DSLR with built in storage though.


Errors in converting mp4 to ts with FFmpeg

a) -bsf h264_mp4toannexb applies the filter to all output streams but it has to be applied to only video streams.

b) In any case, newer versions of ffmpeg, like the one you have, will automatically apply bitstream filters so you don't need to.

Use

ffmpeg -i 1559066401592889640.mp4 -c copy 1559066401592889640.ts


How to make video with a scrolling graphic?

You create the whole graphic as a still image - for the above, likely a 1080 x 28000 px image to start with.

Then I'd import the image into either Premiere or After Effects based on what you're more comfortable using.

Then you set a keyframe on the initial position of the graphic - then move the graphic horizontally to the left, all the way to the end, move your timeline to the end of the project and drop another keyframe for the ending position.

Then you'll likely have to tinker with the project length and keyframe positions to fine tune the timing of the virtual camera pan.

There's a ton of tutorials available to accomplish a simple task like animating an image:


Template based video storage / online programmatic video editing tool?

As well as @ElderGeek's suggestion of ffmpeg, Adobe After effects can be used to generate bespoke video for the web. It can be fully scripted using Adobe's extendscript on the server and run as a headless process. You can thus programmatically create video templates and alter such things as text, image content, or insert clips, then render and deliver.

Note that the rendering does take time and CPU (for both ffmpeg and AE). To achieve real-time customisation you may want to consider using the HTML canvas element, which can support video and animation, working on the client side.


For future videos, you better have a defined reference in all videos. For example a clapperboard or a standardized grey card. Then you can match all videos during colour grading both regarding the white balance and exposure. Usually editors let you set the black and white point or midtone with a colour picking tool that you use on the clapperboard or greycard. Or you mask out a grey area and using diagrams to adjust colours until the red/green/blue values are equal.
For existing videos without such reference and especially for videos from external sources you need more guess work but you should get there close enough.
Anyway, you need a video editor that helps with colour grading. The steps depend on your editor. Some of them offer graphs or diagrams which help for comparison between clips. Usually there's also a copy&paste function, so that you can use the same colour settings for multiple clips. Some even have automatic functions, that may or may not be useful. For example Adobe's Premiere Pro (and here is mini-tutorial on the topic). Adobe offers a free trial, so you can check if this works for you or not. DaVinci Resolve is a great alternative, it's famous for it's excellent colour grading abilities, but since I don't really use it, I don't know much about it.
Once all clips are matched, you can of course choose to artistically change colours for all or some scenes. Like in the The Matrix where they have used a green tint for all scenes that play in the Matrix.


How to import clips from one project into another in Adobe Premiere?

If you only need one of the clips you used in the old project, you should only import that one and don't even use the old project file. Locate the clip on your hard drive and import it into premiere, e.g. by dragging it onto the project panel. If you have trouble finding it, open the old project, find the clip in the project panel and right-click -> Reveal in Explorer.... That should show you it's location on your hard drive.


How to achieve this kind of masks and transitions

Let me start by saying what they did there is actually far, Far, FAR simpler than you think.  I'll try to break it down shot by shot what is going on.

On the title, there are three main elements.  The first element fades in on a time lapse of clouds moving across the mountain.  This appears to be the same time lapse they use a few seconds later for the first subtitle.

Superimposed over that are two elements.  The first and faintest is a fairly small image of a cloud.  It appears to simply be luma keyed or possibly additively blended (bright parts make bright, dark parts don't impact) and probably has a black background  It's quite probably a CG cloud using particle simulation.

The last element of this first shot is a title composed of white text.  The text is blended in using a gradient dissolve that bases the time it dissolves being driven by the luminance of an underlying image.

As a demonstration, lets start with this CC image from centophobia on flikr.  With some quick rotating and additive blending (Lighten) in Photoshop, applying a greyscale mode change and then using the curves to give us contrast more suitable to our purposes we get an image like this (after resizing and cropping to fit a 1080p video).

Now that we have an image to use for the base of our dissolve, we can actually do the title.  Here is a screenshot from doing this in Premiere.

First, I imported the image I created and then I made a basic title with plain white block letters.  I then added both of these to a sequence.  Note that the smoke layer should be in the sequence with the title, but it should not be visible.

Next, I added a Gradient Dissolve to the title clip from the Transition Effects.  Set the Gradient Layer to the layer you put your gradient map on (the smoke image.)

Next, adjust the settings to add softness to the transition (this is what causes it to work through the gradient rather than having a hard line being exposed).

Set a keyframe on the transition completion at the beginning and end of where you want it to dissolve in (using the little stopwatch looking button) and set a keyframe at 100 for the beginning and 0 for the end.

When you run it you should get something like this:

Now for the other titles, it does appear to clearly be working off the strokes of the characters, so there are a few different possibilities.  The most likely one would be to use a similar gradient dissolve, but build the mask based directly on the title.  Drawing a gradient on each character would allow for the control of the reveal to be precisely controlled and the Transition softness would be set to 0 or near 0 to keep a hard line.

As an example, here's doing something for a large letter K.

They may have had a titling software that could generate the gradients for them.  Stroke animation is another option, but you'd have to use true vector shapes for the fonts then and a lot more manual work would have to be done to keyframe each different part of each stroke.  The gradient way isn't particularly quick, but it's probably less effort than stokes.

The final transition appears to just be a  highly motion blurred image flying across the frame really quickly and having the other clip after it clears the field.  Just take an image with a lot of horizontal blur, send it across within a few frames and cut to the other video the moment it completely obscures the scene.


When uploading to YouTube: no (for now...)
Your audio needs to be premixed into one stereo (or mono) channel.

When using YouTube's online video editor: yes, but you are limited to voice-over and music tracks

For more info:
http://support.google.com/youtube/bin/answer.py?hl=en&answer=183851
(see point 4. adding audio)


How do I hang a kino flo from the ceiling?

I'd probably try the lollipop, just be sure to wire it to safeties (safety cables) anchored directly to the subfloor as well.  This will prevent it from falling in the event the lollipop fails.

I'd probably do some weight tests of the mount before putting it up as well to make sure it is strong enough to hold it in position well.  There is certainly no reason such a mount couldn't be strong enough, I just am not familiar with that particular one.


Star Trek Continues: ffmeg dvdsub: overlapping subtitles

Technically the cleanest look with these subtitles would be to:

Extract the subtitles
Turn them to text using your favourite OCR application
Carefully review and edit the text
Burn them back into the media stream in the size, colour, orientation and format of your choice

This is a large and time consuming job which I have personally undertaken in the past but is probably overkill in this case.

The better option is to simply add in the FFmpeg option -fix_sub_duration (placed before the input file options) and this will fix the doubled up subtitles as I illustrate below, and make the subtitles easily readable:

The details of the -fix_sub_duration option can be found in the FFmpeg-all man pages but I have taken the liberty of quoting these details here:

  -fix_sub_duration

  Fix subtitles durations. For each subtitle, wait for the next packet in the same stream and adjust the duration of the
  first to avoid overlap. This is necessary with some subtitles codecs,
  especially DVB subtitles, because the duration in the original packet
  is only a rough estimate and the end is actually marked by an empty
  subtitle frame. Failing to use this option when necessary can result
  in exaggerated durations or muxing failures due to non-monotonic
  timestamps.

  Note that this option will delay the output of all data until the next
  subtitle packet is decoded: it may increase memory consumption and
  latency a lot.

You will note that this is the first of the Advanced Subtitle options, the second being the -canvas_size that you have already used...


Make a video ONLY 2 colors? (Not grayscale)

You could use the Posterize effect in Adobe After Effects, and set it to 2 colours.  Or the Threshold RGB effect and set it to 127 (if it's an 8 bit colour video). You may have to greyscale the video first.


Reimporting from Camera for footage already in Timeline in FCPX

The error you are having "Project has missing or offline titles, effects or generators" is kind of self explanatory, the project you are trying to export is missing on of the following from within the project timeline

Title (some text you have put on or used)
Effect (a fade in or fade out, wipe, etc)
Generator (any one of the build in generators)

so if you watch the project from start to finish you will see the issue, somewhere on the timeline there will be a missing

If you have not used any of these then there might be something wrong with the project and I would suggest re-doing the whole project again.

I don't think you have any problem with the "media" as such. Normally within FCPX you will see a "red" section where there is a problem.


FFmpeg produces high system load when downscaling 1920x1080 to 320x240

As @Mulvya said, nearest neighbor is even faster, but will produce bad quality. Nothing resampled, so you can't get faster operation.

But even nearest neighbor and can cause 100% CPU load, it's depends on how much you pump information through it. If you put very large image or 1000fps, you always will get high CPU usage.

Only one thing you may be interested: colorspace. Try to experiment with different color spaces, like yuv420 or rgb32. Maybe some versions of scaler can be faster.


I just downloaded the clip from provided Dropbox link and found that the file is repairable. Please try to diagnose it using MP4repair.org or in case you're on a Mac computer using Treasured. You will be able to repair it in a few minutes.

Regards,
Javier

(As crew of Aero Quartet I may receive some form of compensation, financial or otherwise, from my recommendation or link.)


How can I add a background image to a large music file?

Simple answer is yes - the Video frame is repeatedly encoded multiple times. There is compression - including frame-to-frame, but the single image frame is effectively duplicated numerous times. Try reducing the resolution for lower file size - if the quality of that image is not so important.


Do I need an attenuation cable between my audio recorder and the RCA out of a DJ's mixing board?

Copied from the Tascam manual:

Analog audio input/output ratings
MIC/EXT IN jacks (supporting plug-in power)
Connector: 1/8” (3.5 mm) stereo mini
Input impedance: 25 kΩ
Nominal input level: –20 dBV
Maximum input level: –4 dBV

This Tascam doesn't even take nominal consumer level without distorting (-10dBV).
Most likely on an RCA output from a mixer you'll have -10dBV, so you'll need to pad the level by at least 10 dB (nearly 22dB if the DJ mixer outputs professional +4dBu).

But, the Tascam lets you trim level before recording, so it looks like all the pad you need is in the Tascam itself.
Just make sure you set that beforehand to a level around the -12dB mark on the Tascam's meters and that you take out the Auto Gain, which always ruins levels. Check the manual which explains how to do these clearly.


Add two images before a mp4 and one in the end with ffmpeg

Make videos from images:

ffmpeg -loop 1 -framerate 24 -t 5 -i image0.png -loop 1 -framerate 24 -t 5 -i image1.jpg -loop 1 -framerate 24 -t 5 -i image2.jpg -f lavfi -i anullsrc=cl=stereo:r=44100 -filter_complex "[0]fade=t=in:duration=1,format=yuv420p[v0];[1]format=yuv420p[v1];[2]format=yuv420p[v2]" -map "[v0]" -map 3 -shortest pre1.mp4 -map "[v1]" -map 3 -shortest pre2.mp4 -map "[v2]" -map 3 -shortest post.mp4

Note that the frame rate, width, height, aspect ratio, pixel format, H.264 profile, timebase, audio channel layout, audio sample rate, stream types, and number of streams of these videos match that of the main video.

Make input.txt:

file 'pre1.mp4'
file 'pre2.mp4'
file 'main.mp4'
file 'post.mp4'

Concatenate with concat demuxer:

ffmpeg -f concat -i input.txt -c copy -movflags +faststart output.mp4


I believe the definition of “predicted” you are using does not match how the term is used in video compression. A “predicted” frame is just a frame that can be reconstructed using information from previous frames, along with some additional data. The frames are not zero sized, but that are smaller than key frames. You can have as many predicted frames in a row as you want. A key frame is usually periodically sent because of error propagation. If there is a transmission error and the video becomes corrupt, a key frame can fix it.

Also keyframe interval and bitrate have a slight correlation, but they are independent variables and not much information can be assumed about one given the other.


Use ffmpeg to remove specific chapters out of an MP4

This can be done using the concat demuxer. If the Video chapters begin with a keyframe, then encoding can be skipped.

#1 Copy/Paste the following into a text file, or pipe it to the command in the next step

    Chapter #0:0: start 0.000000, end 19.142000
    Metadata:
      title           : Video
    Chapter #0:1: start 19.142000, end 34.017000
    Metadata:
      title           : Advertisement
    Chapter #0:2: start 34.017000, end 810.551000
    Metadata:
      title           : Video
    Chapter #0:3: start 810.551000, end 915.283000
    Metadata:
      title           : Advertisement
    Chapter #0:4: start 915.283000, end 1206.940000
    Metadata:
      title           : Video
    Chapter #0:5: start 1206.940000, end 1291.963000
    Metadata:
      title           : Advertisement
    Chapter #0:6: start 1291.963000, end 1614.738000
    Metadata:
      title           : Video
    Chapter #0:7: start 1614.738000, end 1694.709000
    Metadata:
      title           : Advertisement
    Chapter #0:8: start 1694.709000, end 2068.249000
    Metadata:
      title           : Video
    Chapter #0:9: start 2068.249000, end 2173.261000
    Metadata:
      title           : Advertisement
    Chapter #0:10: start 2173.261000, end 2472.440000
    Metadata:
      title           : Video
    Chapter #0:11: start 2472.440000, end 2582.395000
    Metadata:
      title           : Advertisement
    Chapter #0:12: start 2582.395000, end 3143.276000
    Metadata:
      title           : Video

#2 Prepare the text file for concat

It should end up like this

file 'myfile.mp4'
inpoint 0.000000
outpoint 19.142000
file 'myfile.mp4'
inpoint 34.017000
outpoint 810.551000
file 'myfile.mp4'
inpoint 915.283000
outpoint 1206.940000
file 'myfile.mp4'
inpoint 1291.963000
outpoint 1614.738000
file 'myfile.mp4'
inpoint 1694.709000
outpoint 2068.249000
file 'myfile.mp4'
inpoint 2173.261000
outpoint 2472.440000
file 'myfile.mp4'
inpoint 2582.395000
outpoint 3143.276000

Each set of three lines corresponds to an included video chapter. The file entry is on the first line, chapter start and end times on the 2nd and 3rd lines.

I used the following command to generate it

grep -B2 'Video' chp.txt | awk '(NR-1) % 4 == 0' | sed -E 's/\ *Chapter #[0-9]:[0-9]+:/file \'myfile.mp4\'\n/g;s/\ *start/inpoint/g;s/,\ end/\noutpoint/g' > list.txt

If you don't have these utilities (if you're on Windows), get them from https://github.com/bmatzelle/gow/releases

#3 Concat the files

ffmpeg -f concat -i list.txt -c copy stripped.mp4

If the Video chapters don't start with a keyframe, you'll have to re-encode.


Automated, script and template based video editing

Automation Software might be a good option, although you'd need to give yourself a day or more to just get yourself up to speed learning curve wise.

AutoIt is free, and you can basically code your scripts and then compile it into a program or batch file which you could run on a folder of files.

I use a program called WinAutomation, which is similar to AutoIt, but you have to purchase ($800ish). But it makes task automation, even to a very high level of sophistication, and allows you to automate human processes.

With WinAutomation you could create a program that basically opens sequentially each file, loads it into your editor, adds video to a timeline, random, or based on variables, applies filters, sets up settings, exports, when finished, it would do the next one.

But again, learning curve wise.

Either way, its going to come down to coding/programming/scripting. I don't code enough to be proficient at it, so while I can cut/paste/modify and even write basic code in a few programming languages, a package like WinAutomation allows me to make programs that work like actual programs, and do very complex tasks, which script/code wise would require a lot of time to learn language wise.

Look at AutoIt. Its used to make so many apps and programs, and again, its free, with tons of resources and projects you can download to get a feel for how it's build architecture works.


That looks like a software error. Your best bet would probably be to get a clean version of VirtualDub and retry the steps to enable .MOV support. Alternatively, you could also convert the .MOV to another format such as jpg sequence.


I want to add video noise/grain based on an audio track?

You can convert audio to keyframes. Right-click the footage with the audio, and choose Animation>Keyframe Assistant>Convert Audio to Keyframes, or with the audio layer selected go to the Animation menu in the menu bar.

This will create a new layer with keyframes for the intensity of the audio. You can copy those keyframes on to any property that you want to animate and adjust them in the graph editor, or you can use an expression on the property and select the keyframes with the expressions pickwhip. This means that the audio levels can control any animatable property including parameters for your favourite noise effect.

A useful trick is that you can apply EQ to the audio before you convert it to keyframes and have different sets of keyframes for the bassline and the melody sounds.


What is the correct format of media creation time?

A note about the time zone:

ffmpeg interprets the input as local time, then converts it to and stores it as UTC.

If you want to give it UTC, add 'Z' to the end; ffmpeg then accepts it as UTC and does not change it.

Edit: ffmpeg's behavior is following an ISO 8601 rule: "a date and time [without Z] is assumed to be in some local time zone. ... to indicate that a time is ... (UTC), you can append a capital letter Z ...". Source: Markus Kuhn, https://www.cl.cam.ac.uk/~mgk25/iso-time.html, which I think is an easier introduction than the wikipedia article (https://en.wikipedia.org/wiki/ISO_8601).

I discovered this while testing by encoding to mkv, then reading metadata with ffprobe.

Writing in Python, I tried both local: time.strftime( fmt_string, time.localtime() ) and UTC: time.strftime( fmt_string, time.gmtime() )

With localtime(), my fmt_string was "%Y-%m-%d %H:%M:%S", and there was no problem.

With gmtime() it needed 'Z' on the end; I tried these formats and they gave correct results: "%Y-%m-%dT%H:%M:%SZ" and "%Y%m%dT%H%M%SZ".

When I used "%Y-%m-%d %H:%M:%S" (without a Z) with time.gmtime(), the result was a doubling of the offset: At about 21h local time, the time that gmtime() produced was about 11h (I'm in AEST, 10 hours ahead of UTC); ffmpeg took this as local time and subtracted another 10 hours, so the result that ffprobe showed was around 01h.

The standard says there must not be a space before the Z, so I didn't try that.

Regardless of the input format, ffprobe always wrote creation_time formatted as in this example: "2019-03-27T03:01:29.000000Z". I don't know whether the time is stored in that format, or as a simple number such as a unix timestamp.

Note the Z on the end, which shows that ffmpeg thinks it's a UTC time.

If you write a time in another tag, such as 'comment', it's just a string and stays the way you formatted it.

Using the deprecated option -timestamp (as e.g. -timestamp now) produced a creation_time tag, which ffprobe showed in the same format as shown above.


You can accomplish that with simple masks. The main thing you need to do, it is to make several shots from same angels and same positions of the camera.


What is the typical audio to video sync threshold when it becomes noticeable?

I don't know if there's a "standard", my personal opinion - "it depends".

In general you'll get away with a frame or two out of sync, although most editors will just line it up as accurately as possible if they can, unless there's a reason you can't?

I've filmed tap dancers on a stage and given the teacher the raw footage - and had them complain the audio was out of sync. On a raw recording you're looking at between 2 and 4 frames out, depending on how far the camera is back from the stage.

I'll notice as soon as dialogue is 3 or 4 frames out. Other sounds often sooner. I'll notice when you've got a rear shot of someone's head, and the jaw movements aren't lining up with the dialogue. But I'm not a casual observer, and neither is the dance teacher - so like I said, it depends. There will definitely be people who notice as soon as you're out by even a small amount, and there are many more who won't spot it. Almost always when something on TV is out of sync and driving me nuts, no one else is even noticing it.

Any proper editing software will let you resync the audio, and even without a clapper, it's usually easy enough to figure out, and at least get it within a frame or two. There might not be a standard, but if your audio is badly out, you are better to just spend the time to fix it. If you can notice it, and/or it doesn't look right to you, then likely at least some of your audience will be having the same experience.


In the end, I made it work just as posted above, by installing the Haali Media Splitter. I have seen posts by people who say that this software is needed to process MP4 files.


The GIMP has a GIF Animation Package that can convert MP4 to gif.

You can just use the Split Video into Frames function, which will split each frame into a layer in GIMP.

Then when you Save As, select .gif and choose Save as Animation.

Photoshop has a similar function, but I haven't used it for a while now.


How to create a rolling ball with Python in Blender?

Answers

    I. a learning problem and reference-request.

  Please, see very good examples here. The code can also become
  useful
  here. Good tutorial video here. Main docs here.

    II. I am using DVO -layout where many keys such as " and ' are broken -- and many hotkeys are broken (things are apparently
    hard-coded to QWE -layout).

  Press AltGr + <quote key> or select no-dead-key-keyboard, keys such
  as shift-space tend to interrupt with Blender -keys.

    III. I find it hard to find help about using python inside Blender, besides broken window-paste-board in X, lack of TAB as auto-completion
    and lack of good examples.

  The key is auto-completion (not with TAB for some odd reason but
  CTRL+SPACE) and the key command is $ bpy. I haven't yet found a solution for the clipboard, investigating.

    Example 1: specify a ball to origin with Python in Blender

    Select your ball in 3D mode and then:

$ bpy.context.object.location.xyz=[0,0,0]

    so you have your ball in origin.

Animation

It is not easy to explain this so some puzzles while also working on it.

  Puzze 0: show the details about things

>>> for object in bpy.data.objects:
         print(object.name + " is at location " + str(object.location))

  Puzzle 1: create cubes (source)

 >>> mylayers = [False]*20
 >>> mylayers[0] = True
 >>> add_cube = bpy.ops.mesh.primitive_cube_add
 >>> for index in range(0, 5):
 ...     add_cube(location=(index*3, 0, 0), layers=mylayers)

  Puzzle 2: perhaps useful things

>>> bpy.context.object.animation_
data
data_clear(
data_create(
visualisation

Related Questions

https://stackoverflow.com/questions/10972637/how-can-i-access-bpy-in-standard-python-console-bpy-is-the-blender-python-thin/10973302#10973302
https://stackoverflow.com/questions/3924294/blender-python-scripting-tutorials?rq=1


Camera-projector installation and reducing projector feedback

If you place an IR-blocking filter in front of the projector and a IR-pass filter in front of an IR-sensitive camera and illuminate your objects with IR light, then the camera will see nothing from the projector, and you can color your contours with any visible light colors.


You can use a graphics card that has a HDMI output connector.

Instead of connecting it to a monitor/TV you can connect it to a camera or a VCR that has HDMI input. This way you should be able to record anything that is shown at the card.


Alternative for 'create shapes from vector layer' for edit possibilities in Ai

The Overlord plugin can help with this.
https://www.battleaxe.co/overlord/
It can convert shapes in AI to parametric shapes in AE.


How much SSDs to use on computer for DaVinci Resolve Studio?

Variant 2 is gonna use 2 SSD Simultaneously, Which means IF one SSD can read Data upto 500MB/s then Both of them is gonna use Double that!
Feels Awesome, right?
But, That is not the fact.... Disk C is Only Gonna Send Huge Amount of Data to RAM when A Software Located inside Disk C is Starting.... When Finished loading It's Gonna be Back to It's idle mode....

That 1-3MB/s Doesn't Really Matter at all to The scale of 500MB/s.
So You can go with 1 Big SSD rather than 2 SSDs.
I would Suggest Doing that, You can Save Some bucks!

Also in my case, I was Downloading a File in Disk C. That's Why it Jumped to 14MBp/s But Usually, Even when Resolve will be Running Speed will be Jumping around 1.8MB/s
I was Worried about Performance Just Like you, Months Ago... I changed my build, Switched to AMD R9 then... My Solution was... Giving the SSD it's Very Own Disk rather than Storing C:Local Drive On it! i Store Local drive in HDD, all The Small and Not-So-Performance-Needed Software in there... The Softwares on which I needed Performance (eg: Blender, Cinema 4D, Fusion) I Installed them inside a Folder In Disk X (Disk X is on SSD)


How can I link a mask path to a track null?

In After Effects CC, masks can be made into tracking masks. Right click the mask and you should see a context menu with Tracking Mask. Select it and the mask can be tracked to the video it is applied to. The Adobe page about it is here.

This will track the video but the mask will be a rigid shape. If you want the points inside the mask to track individual points in the footage you're going to need a third party extension. This one does the job:

http://aescripts.com/tracker2mask/

Another option is to apply the mask to a solid layer, then make the tracking null the parent of that layer. This can be useful when working with 3D tracked points, because you can mask objects that are rotating in the frame, eg. for logo removal.


video overlay on another video with rounded corner, transparency, opacity, scaling, and border all together with FFMPEG in PHP

Add format=yuva444p, before 'rotate'.

ffmpeg -i empt_vid_5891581054410.mp4\
-i merged-571580302534.mp4 \
-filter_complex "[1:v]format=yuva444p,rotate=-30*PI/180:ow=rotw(iw):oh=roth(ih):c=none [rotate];[0:v][rotate] overlay=40:10:enable='between(t,2,7)', colorchannelmixer=aa=0.5" -auto-alt-ref 0 -pix_fmt yuv420p -c:a copy overlayavatar.mp4


FFMPEG - convert video to Black & White with threshold?

Use the threshold filter:

ffmpeg -i main_1280x720.mp4 -f lavfi -i color=gray:s=1280x720 -f lavfi -i color=black:s=1280x720 -f lavfi -i color=white:s=1280x720 -filter_complex threshold output.mkv

This filter requires four video streams to perform thresholding:

main input
threshold
min
max

You can optionally add the format filter for a grayscale pixel format: threshold,format=gray (assuming your output format supports that otherwise additional pixel format conversion will automatically take place).


Create cuts automatically by audio wave form in Premiere Pro CC

Not that I've heard of, however, you could add Dynamics / Compression to your audio track and essentially compress out the low gain sections.

On your Audio Mixer Window, drop down the the filter section at top for the track all your audio resides on.

You will want to add Compression, not Expansion. Add some Gain MarkUp, 5-10 dB. Check Limiter, set to -2 dB.  Then adjust the ratio/gate/threshold so that the compressor will do as follows:

Add 5-10 dB of Gain to the entire track; depending on your source, you'll need to adjust that by levels/ear.

The gate/ratio will then if set correctly, only allow anything "Above" "X dB" to pass through the threshhold.

Loud sounds will be MarkUped as well, however, the compressor will not overmodulate if you adjust correctly and use the Limiter.

So if your video is nothing but low "breeze" noise, it will be cut to zero. Audio will need to "pass" the threshhold, and the attack setting will adjust how fast it allows passable audio to become audible and how fast it closes the gate after the audio falls below threshhold.

It sounds more complicated than it really is. If you follow the steps, play with the settings, you'll get it.

The filter is called DYNAMICS


How can I replicate C-LOG in a Canon DSLR?

The Magic Lantern firmware transforms Canon DSLR cameras into RAW-capable video cameras that are not half bad.  The native Canon video codecs are universally among the worst of any current DSLR, not only because of their weak codecs, but because their line-skipping algorithms really destroy the image quality from the start.  If you are shooting RAW video, then RAW->C-LOG is a valid transformation and one that will make your videos very easy to edit in most NLEs.  If your are shooting a native Canon profile, you've already lost resolution, bit-depth, and color gamut.  Any profile that reads a native Canon video file and converts it to C-LOG is merely memorializing all the bad that has been done to the image and offers none of the good that could have come from using RAW data to begin with.

TL;DR To get the most amount of data from your Canon DLSRs, use Magic Lantern firmware and scrap the Canon codecs.


I'm assuming that by formats you mean codecs. The following are codecs that work in either Quicktime (.mov), AVI, and MXF containers, or as image sequences saved as discrete files.

Commonly used in the industry:

Apple Animation (has been around forever, 8 bit support only)
Apple ProRes 4444 (probably the most widely used? I have no data, just guessing)
Avid DNxHD & DNxHR (this could be just as widely used)
GoPro Cineform
PNG Sequence With Alpha (my favourite, allows for faster multi-instance renders), also TIFF sequences (ditto, but bigger files)

More obscure:

Avid Meridien
other image sequences: Cineon DPX, Maya IFF, OpenEXR, Targa


FFmpeg's drawtext filter can burn timecodes into frames.

edit: I misread the docs before.  I saw the timecode option to the filter, and missed seeing that there was a pts available for text expansion.  See the edit history for the longer-and-less-useful answer.

I eventually got around to trying it, and here's the command line I cobbled together from pasting and tweaking some examples:

ffmpeg -i /f/p/moto-g\ camera/VID_20141225_140557099.mp4 -filter_complex "drawtext=fontfile=/usr/share/fonts/truetype/freefont/FreeSerif.ttf: text='frame %{n}\\: %{pict_type}\\: pts=%{pts \\: hms}': x=100: y=50: fontsize=24: fontcolor=yellow@0.8: box=1: boxcolor=blue@0.9" -c:a copy -c:v libx264 -preset veryfast -crf 16 -x264-params keyint=60 -map 0 foo.mkv

Note the actual text to be printed needs a lot of escaping, to protect it from the shell, then from ffmpeg's arg-to-drawtext.  To modify it, change the text='frame %{n}\\: %{pict_type}\\: pts=%{pts \\: hms}' part of that ffmpeg command.

example output: "frame 0: I: pts=00:00:00.0000"  (I/B/P are frame types, from %{pict_type}.)

Modify x and y to put it somewhere else in the frame.  (you can use x=iw/2 to put it horizontally in the middle.  iw = input width.  (anchor = top left corner of the text, I think?))  Modify other params to change colors or whatnot.

This works even with VFR video.  I checked with video from the camera in a Moto G phone, which makes variable frame-rate video.  The first second has 30 frames.  A later 1-sec interval in the video has 17 frames.  (Indoors, not very well lit, so I think it's lower FPS to get more light, not because it can't write to flash storage fast enough.)  The timestamps it puts in the MP4 container are correct, so it plays fine.

The encode parameters -c:a copy -c:v libx264 -preset faster -crf 16 -x264-params keyint=60 are my suggestion for what you might want for scratch files with timestamps burned in: you just want it to encode fast, and don't care much about filesize since you're just going to use it locally, since it has timestamps scribbled all over it.  (There's even a superfast.  Don't use ultrafast except for lossless mode, though.)

keyint=60 will make sure there's an I frame at least as often as every 60 frames, for efficient scrubbing.  Leave it out if you don't need to be able to efficiently framestep backwards; lower it if you want high-rez seeking to be faster.

Use -map 0 if you want multiple audio and metadata streams copied into the output, instead of just the first audio and first video tracks (and no e.g. chapter metadata).


FFmpeg hardcoded subtitles revert to default font if subtitle is html

Possible bug when feeding mov_text to subtitles filter. I can reproduce the issue in git master branch. I did not investigate further.

Workaround is to provide the subtitles filter the SRT subtitle stream present in your original MKV input (file.mkv):

ffmpeg -i file.mkv -map 0:a:0 -map 0:v -c:v libx264 -c:a aac -vf "subtitles=file.mkv:stream_index=6:force_style='OutlineColour=&H80000000,BorderStyle=3,Outline=1,Shadow=0,MarginV=20,Fontname=Liberation Mono'" output.mp4

Make sure stream_index is referencing the desired subtitle stream. See subtitles filter documentation.


Are there any downloadable samples of 48 fps video?

Here's a short mov to demonstrate the difference, that's all I've been able to find:

http://www.stopmotionpro.com/media/video/48fps_cameramove2.mov