How do I assign an input video's framerate to the output video when multiple input arguments are present?

-framerate is an input option for image sequence input, so it goes before that input.

Here's the combined command:

ffmpeg -framerate 30 -i edited%05d.png -i in.webm -c:v libvpx-vp9 -pix_fmt yuva420p -lossless 1 -c:a copy out.webm


Video corrupted because of force restart when capturing

Don't panic
Download virtualdub and try to open in it. Try select "direct stream copy" and save new file. AVI container very easy to fix.
If you using h264 codec inside, you can try to use my tool https://github.com/bookkojot/mp4fixer


When nesting clip, how to make new sequence same resolution as clip instead of original sequence?

You can automatically create a sequence from a clip by right-clicking on it in the project panel and selecting "New Sequence From Clip". This will create a sequence matching the resolution and framerate of the clip and put the clip in it. You can drop the newly created sequence in your original sequence like any other asset in the project panel.


How can 1080p films be so disproportionally lightweight?

DVD and Blu-Ray content makes massive use of lossy encoding.

An easy way to see for yourself is to find a dark scene in a film, and then pause it. If the only issue was a limited number of black levels, you would expect to see a stepped gradient curve from the darkest region to the lightest region. Of course, if true 24-bit color was being used, the "stepping" would be too subtle for your eye to see. But the video isn't even that good! You will most likely see large solid rectangles in the black part of the screen. This is the result of the compression algorithm "guessing" that a square is a good enough approximation, and everything within the square is close enough to the same color to just use one color.

This works well most of the time, but tends to fall apart in films that make extensive use of dramatic dark scenes.

Added from comments: Encoders "cheat" on everything they possibly can. If you can think of something new to "cheat" on that most people won't notice, you can make a lot of money licensing your codec in the video production world.


You have to use the update option.

-vf fps=1 -s 320x240 -update 1 d:\preview\out.jpg

This will rewrite onto the same file.

To avoid a possible read op in the middle of the updating, you can add -atomic_writing 1


Is there a way to apply an Animation Preset - Text Effect onto a shape?

There sadly does not appear to be a direct way to do it, however you can approximate it by using a Directional Blur on your shape layer with a 90 degree orientation and then applying a fade in.  If you mess with the keyframes a bit, you should be able to get it to look like a constant animation.


Adobe Encore/Premier quick and dirty/shortcut to make DVD

Starting with Adobe CC, Adobe removed a program from their Premiere suite called Encore. Encore had all the same benefits of Dynamic Link - you didn't need to render your project, just add your project file, and boom - transcoded to DVD in one step, without an intermediate.

Now, for CC users, you still have a licence for CS6, and can downloaded Encore still, through the Creative Cloud launcher.

What you do have to do, is first make an intermediate render. You've got two basic choices:

Render a Master copy, full res, full quality, with no or very little compression (ProRes, DNxHD etc.)
Render a DVD-ready MPEG2, that will not need transcoding in Encore. There are presets for this in Media Encoder.

Adobe has the information you'll need to download Encore in their Help Documentation. Summarised, you install Premiere CS6, which also installs Encore CS6. Then, uninstalling only Premiere will leave you with Encore CS6, as well as all your regular Adobe CC apps.


Automatically speed up video portions with no voice

It might be possible through scene detection if your editor of choice allows for scene detection based on sound.  Alternately, since you are obviously handy with code, you could use a video editing library to write a program that would look for a threshold audio level to be exceeded and look for any long periods of time with no such peaks.  You could then apply speed changes between those timestamps.

The actual coding of something like that is really more of a programing question than a video production question, but it should be technically possible using that kind of a technique.  I'd recommend looking at libav or one of the similar types of windows libraries for manipulating AV files.


How to use hardware acceleration with FFMPEG for trimming and concatenation purposes

Since you are using -c copy in your commands, there is no decoding, filtering or encoding taking place and so hardware acceleration isn't relevant at all. The main bottleneck is disk I/O. On a regular internal HDD (with a 3rd gen CPU) I get speeds of 400x so I suspect you're reading or writing to an external drive. Or your internal drive could be slow, have a smaller cache. The biggest boost will come from writing to a different drive than the drive on which the inputs reside, with ideally both drives being internal.


What is the most efficient way to split up raw video into rough clips using Premiere Pro?

You're probably better off making subclips.

Subclips are pieces of footage that have been pre-edited, and appear in the project window as a separate clip, although they reference the same footage. In newer editions of PP there is the option of creating hard and soft subclips.

NB you can use the keyboard shortcuts i and o for setting in and out points and ctrlu for making the subclip (instead of noobishly clicking with the mouse like the guy in the tutorial). That will save your carpal tunnel.


You haven't specified which program you are using, but assuming that you have access to After-Effects or any Node- or Layer-Based compositing-program, you would want to rotoscope the area, that confuses your analysis. This is the same principle as using a camera-tracker, but subtracting moving areas or people in your footage. To do so, you would simply have to import your footage in, say, after-effects, grab the pen-tool, mask out the undesired area, set the mask so "subtractive" and render out the video again, preferably in prores4444 or any other (near) lossless codec and container.
I hope this helped, have a good day :)


How to give different colors to duplicate composition in after effects?

What you need to do is:

clone the layer,
right click and choose View Layer Source in Project,
duplicate the source in the project window, and finally
alt/option-drag the new source on to the (selected) cloned layer to change its source.

If this is too tedious, I've written a script that will clone the layer and create a  unique source for it in one step (it can also recursively clone all the source layers in compositions if need be). There's also a pay-what-you-want script called true-comp-duplicator on aescripts.com that will do the same job.


If anyone happens to have this problem:

from inside kdenlive, copy the video (even better: make a .zip and copy it)
also from there, navigate to a folder which is inside a Git project
paste the video or the archive there
still from inside kdenlive, open a Git Bash, then commit and push the pasted file
exit the file explorer and kdenlive
navigate to the same folder normally and open a Git Bash
git pull
your file will be there.


Positioning and Resizing Captions in Final Cut

Apple has an article in the FCP user guide.
All you need should be explained here.
Format caption text in Final Cut Pro


What tools can I use for animating maps?

I have recently started using Google Earth Pro for Windows (free app).
It has the ability to export a recording, using the "Movie Maker" tool (under the tools menu). This will record your actions.
Strangely it cut off "Google Earth at the bottom right ("Google Ea"), I wasn't sure if this would cause them to complain about attribution.

I tried Google Earth with the Screen Recorder in PowerDirector, this works well and I am not limited by Google's speeds. (And the attribution was not clipped).

I find I fight with small things and can't quite get things just the way I want. However, it is free, and it does work.


Convert MTS AVCHD files into a more sharable format, such as mp4

I used ffmpeg (https://en.wikipedia.org/wiki/FFmpeg, http://ffmpeg.org/) to exchange the container format while keeping the original video and audio data. You can also use it to transcode the video, but many of the stream formats work in other container formats as well, so the -vcodec copy -acodec copy parameters will keep the original quality. I used something like

ffmpeg -i movie.mts -acodec copy -vcodec copy movie.mp4

(untested, I don't have access to the computer I use for video work at the moment). With

ffmpeg -i movie.mts

you will get more details on the stream formats in your file and you can then decide what to do with them.

I even had to use it to copy to the same container (mpeg transport stream format) with sony files since the original files caused other software to become slow, what did not happen with the new but same container.

Ffmpeg is a command line tool and it is very user friendly (especially, it provides you with a lot of information about your files) and when you have found the best parameters for your case then it will become a 1-click solution since you can re-use the command on all your files.


How to extract frames and saving frame type to filenames with ffmpeg?

Can't comment on the soundness of your theory, but here's a way to do it. Not directly, but in a roundabout way.

FFmpeg's segment muxer can break up a file at GOP boundaries, so running the command below generates a set of videos which each start with a keyframe but contain no other keyframes.

ffmpeg -i test.mp4 -c copy -f segment -segment_time 0.001 -segment_list list.ffcat -reset_timestamps 1 segs%d.mp4

This will create

segs0.mp4
segs1.mp4
...
segs101.mp4
..etc

Extract each segment to images

ffmpeg -i segN.mp4 outN-%d.png

Apply A on first frame of each image series and B on the rest.

Then for each processed series, run

ffmpeg -framerate X -i procN-%d.png -c:v libx264 -keyint_min 1000 -x264opts stitchable "result\segsN.mp4"

-keyint_min value should be greater than no. of frames in each series.

Hopefully the names of the resulting MP4s are the same as the original split segments, which makes the next step more convenient.

Copy the list.ffcat created in the initial segmenting command to the results folder and run

ffmpeg -f concat -safe 0 -i list.ffcat -c copy processed.mp4


What's the quickest, most efficient way of sending files/proxies to a remote editor (using Premiere) over a moderately slow internet connection?

Sending proxies is also a well established workflow if you choose to go that route. “Offline” and then “Online” editing.

See the following link for explanation on how to correctly create the proxy files with Premiere Pro

https://helpx.adobe.com/premiere-pro/kb/ingest-proxy-workflow-premiere-pro-cc-2015.html#CreateProxies

Send your Premiere Project and proxy files to your remote editor and receive back the completed project. Import their sequence into your original project and as long as they did not alter the proxies in any way before editing you should be able to reconnect the original media easily.


How to export many small clips in a sequence out as separate video files in Adobe Premier?

Sounds like you want to create sequences for each of your clips and batch export those sequences.


Is there a product(s) to stream recorded videos, all at same given point in time

I did find a product called Calypso by Haivision

http://www.haivision.com/products/record-stream/calypso

I've spoken with their tech support and they claim it can do the time sync functionality I desire.

I recognize this product will be out of the price range for some looking for the same sort of thing.  The multiscreener app screaming drills mentions above looks promising, as does some other software products that website mentions.  I just do not have the time to check them out.


What's different between Premiere's own h.264 and QT h.264 encoders?

The encoder is always the same, namely Adobe Media Encoder. What you're changing is only the format, which admittedly is a bit confusing since that dropdown mixes up a couple of concepts which don't really belong together. If you select H.264 from the format dropdown, that's the video codec. Using that format selection, you will find a ton of options below, one of which is the multiplexer tab. This is where you can select what container format you want your video and audio stream to be mixed in (usually that's MP4). If you select the QuickTime format, you are always exporting a MOV file. The codec of the QuickTime format is variable, so you get a dropdown for that instead.

So with both options, you will get an H.264 video stream, but mixed in a different container format. You can find more info on individual streams and containers in my answer here.

It's a bit confusing that you are selecting different things (codecs or containers) in the format dropdown, but since there are also completely different options such as exporting as an image sequence or exporting audio only, it's hard to come up with an interface that's neither terribly bloated nor missing important options.

From the Adobe Support Pages:

  Some filename extensions—such as MOV, AVI, and MXF —denote container file formats rather than denoting a specific audio, video, or image data format. Container files can contain data encoded using various compression and encoding schemes. Adobe Media Encoder can encode video and audio data for these container files, depending on which codecs (specifically, encoders) are installed. Many codecs must be installed into the operating system and work as a component inside the QuickTime or Video for Windows formats.


Had the same problem. Put a black solid in the background. It worked for me.


ffmpeg smooth video zoom-in to center over duration of video

pzoom is the calculated zoom value for the previous frame. It is initialized to 1 at the start of filtering. So, if total no. of frames is X, your zoom expr should be

z='min(pzoom+(2.13-1)/X,2.13)'


I want to compare two video files using FFPLAY

ffplay is designed to play a single input. So, a workaround is needed.

ffplay -f lavfi "movie=org[a];movie=enc[b];[a][b]blend=all_mode=difference"

A filtergraph is created and movie source filters used to open the files, then blended.


ffmpeg cropped video changes aspect ratio

This should work universally.

ffmpeg -i in.avi -y -pix_fmt yuv420p -an -qscale 1 -vcodec libx264 -vf setsar=1,crop=in_w:in_h-64:0:64 out.mp4


Create one split screen video, separate audio streams and a thumbnail from the resultant split screen video - all in one pass

Combined command:

ffmpeg -i input0.mov -i input1.mov -filter_complex "[0]scale=640x360[v0];[1]scale=640x360[v1];[v0][v1]hstack,split[video][image]" -map "[video]" output.mp4 -map 0:a audio0.mp3 -map 1:a audio1.mp3 -map "[image]" -frames:v 1 image.jpg

For a 4 videos into a 2x2 layout:

ffmpeg -i input0.mov -i input1.mov -i input2.mov -i input3.mov -filter_complex "[0]scale=640x360[v0];[1]scale=640x360[v1];[2]scale=640x360[v2];[3]scale=640x360[v3];[v0][v1][v2][v3]xstack=inputs=4:layout=0_0|w0_0|0_h0|w0_h0,split[video][image]" -map "[video]" output.mp4 -map 0:a audio0.mp3 -map 1:a audio1.mp3 -map 2:a audio2.mp3 -map 3:a audio3.mp3 -map "[image]" -frames:v 1 image.jpg


Convert a non-supported/obscure codec to a supported codec

I found a reference to this codec perhaps being used by the SIMI motion capture software; chances are it's uncompressed (if a high bit rate?) or lightly compressed AVI with additional data streams. Perhaps some stupid bitstream obfuscation... Less likely, but perhaps just a commodity codec like ASF/WMV in an AVI container?

Discussion of SIMI software found on http://birdz.sk/forum/avi-nevie-pehrat-ziaden-prehravac/138108-tema.html/ . Perhaps contacting the software developer is worth a shot.

If not, I'd try experimenting with the FOURCC changer (https://www.fourcc.org/changer/) and see if you can get WMP, VLC or mplayer to accept this file without baulking at any ancillary data.

Maybe ffmpeg could be forced to demux just the video assuming a format, allowing you to reencode? Have you got a clip available to post for analysis?


ffplay - Live capture video gradually lags behind

So I solved this by simply adding an audio stream instead of having "none" selected.  Doing this makes -framedrop (default) work properly.  I left the master clock as default as well (audio) instead of changing it to ext.


ffmpeg setting not working for x264 compatibility in television

notworking.mkv is 10-bit H.264 (yuv420p10le). I'm guessing the TV can't play that. You'll have to re-encode to the more common yuv420p for the TV to be able to play it. Basic example:

ffmpeg -i notworking.mkv -map 0 -c copy -c:v libx264 -vf format=yuv420p output.mkv


How to embed multiple images in a video recording

You can chain multiple overlay filters where each instance overlays one slide, but this will very quickly produce an unwieldy command. It's more convenient to do this in two steps. 1) Generate a video of the slides only with the required timings. 2) Use a simple ffmpeg command to overlay that video onto the main video.

For the first step, I've pasted an earlier answer I gave:

  You can use a combination of two tools to do this: ffmpeg and
  mp4fpsmod

  Step 1 is to generate a constant frame rate file using ffmpeg

ffmpeg -i images%d.bmp -pix_fmt yuv420p ffmpeg-cfr.mp4

  Step 2 is to generate a timecode file like the one below, with each line containing the relative timestamp for a frame in
  milliseconds.

# timecode format v2

0
33
88
100
120
160
200
230
330
347

  Step 3 is to use mp4fpsmod to generate the VFR file

mp4fpsmod -o vfr.mp4 -t timecodes.txt ffmpeg-cfr.mp4

  This file plays as expected with ffplay but may not with some
  players, in which case run

  Step 4 Generate a CFR MP4 from the VFR using FFmpeg

ffmpeg -i vfr.mp4 final-cfr.mp4

  This is a CFR file but the temporal relations are preserved as per the
  VFR, although there will be some PTS adjustments, if the timecode
  intervals are very irregular. That can be remedied by specifying a
  high framerate -r N

You'll have to rename your slide images so that their names form a continuous regular sequence. And for your case, I'd suggest your Step 1 command should be

ffmpeg -i images%d.png -c:v libx264rgb -pix_fmt rgb24 ffmpeg-cfr.mp4

and Step 4 if needed should be

ffmpeg -i vfr.mp4 -crf 16 -c:v libx264rgb final-cfr.mp4

You can then overlay the latest file onto the lecture video, using a command like the one in your question.


The short answer is:  You don't pick a color space for your RAW material based on what kind of monitor you're using.
A color pipeline is a very complicated series of mathematical conversions, which is heavily dependent upon:

The operating system's color management settings, such as .icc device profiles from manufacturers, and/or calibration software.
The file recorded by your camera; what settings were used to write the file, the lighting conditions on set, the monitoring conditions on set, whether any in-camera "looks" were used when the file was created, whether those looks should be present in the final image, etc.
Your NLE's color management and monitoring settings
Your viewing environment.  The light levels and color temperature of a color grading suite are standardized by SMTPE, as well as the color of surrounding walls and furniture.
The destination format, monitoring conditions, and viewing environment.  Where do you plan to show your work?  YouTube?  Then rec.709 is probably a safe choice for destination format, but you could still use a larger working color space.  But if you're delivering a feature film to DCI-P3, upstream rec.709 would be a bottleneck.  The same goes for HDR, which is an entirely different beast.

So, without more information about these factors, and what you're trying to accomplish, there's no right or wrong answer at this stage. The choice you're presented with is essentially:  Which working color space do you want to use for the interpretation of your camera RAW file?  As long as this space is larger than what you intend to deliver, then you could use any of them.  If you're delivering to the internet, using the most common space, then they're all large enough.  OTOH, if you will be the only person watching the output and you want it to look the best it can look on your new monitor, then use a space that's as large as your monitor is capable of reproducing, or larger.
Gamma is a different, but similar question.  You don't use a gamma "large enough" to contain a certain set of values like you do with color space.  But the "correct" gamma to chose is dependent upon the gamma your monitor is currently displaying, and the gamma of your destination material.  Ideally, you'd set your monitor to be the same gamma and color space as your intended target.  Here, let me stress, I'm talking about your MONITORING gamma matching your destination format.  But your working gamma (the menu item you're asking about) could still be any gamma, or it could be log encoded, or even linear (especially for VFX compositing).


How to change the display ratio of a Theora track inside Ogg?

The player panic you are experiencing might be due to the checksum in the ogg header. If you recalculate the checksum for the whole header with your new value you might get a valid file again.
http://en.wikipedia.org/wiki/Ogg#Page_structure

Though I dont know all too much about the ogg and vorbis specs. For this kind of low level work its always a good idea to read the specs.
http://xiph.org/vorbis/doc/Vorbis_I_spec.html


Are there any (visible) differences between R1 and R2 DVDs (or blu-rays, thereof)?

There is no visible difference, unless the DVD/BR publisher labels their discs as such.  Any region code (or even region-free data) can be burned or pressed on to any media.

Furthermore, region encoding (at least on DVDs, and I assume on BRs) has nothing (technically) to do with the video format.  Now, you're likely to find Region-1 DVDs in NTSC format, Region 1 is the U.S. and Canada, and the U.S. and Canada use NTSC, but there's no technical barrier to creating a R1 DVD in PAL format.

See the Wikipedia article on DVD Region codes, and specifically the section on NTSC vs. PAL.


What codec do I need for this video file?

There is hardly any video in your AVC file. The data rate is 0.2Mb and the frame is a full size PC desktop resolution (WQHD) instead of a  "real" video resolution such as 1920x1080.
Based on its size, I'd guess you only have 2 frames in there. That would be stretching a bit if you need a real video file. A low bandwidth (25Mb) AVC source of this size would be 100x bigger.

Try using a standard HD res at the source, a bigger bitrate and more key frames.


You can use ffmpeg, a free command-line tool. Basic command is

ffmpeg -i file.3gp file.mp3


The 2.8 branch is too old. The loop filter was added on 2016-02-18. The 2.8 branch was cut from the master branch on 2015-09-05. Release branches do not get new features backported (only occasional bug fixes).

Don't use such an old FFmpeg. Compile or download a recent build.

You can see a list of available filters for your build with ffmpeg -filters.


ffmpeg convert .png to DNxHD .mov and scale color to bt709

ffmpeg -framerate 24000/1001 -i input_%04d.png -vf format=yuv422p10le -c:v dnxhd -b:v 180M output.mov

Use 24000/1001 or ntsc-film instead of the inaccurate 23.976 byname.
This encoder only supports the following pixel formats: yuv422p, yuv422p10le,  yuv444p10le,  gbrp10le. See ffmpeg -h encoder=dnxhd.
This encoder only supports specific combinations of bitrate, width, and height. See a list with ffmpeg -f lavfi -i nullsrc -c:v dnxhd -f null -.
bt709 should be automatically chosen, but verify it is what you want. See output of ffmpeg -i output.mov.


Will remote shutter releases stop and start video?

I don't know much about physical trigger devices, so not sure if starting/stopping a video is possible with those.

However, you can use a "software" trigger that is included in the modified Magic Lantern firmware that is available for free for several Canon cameras (including the 550D).

After you install the ML firmware on an SD card you will have access to many video recording enhancements, so it might be helpful in general.
According to the manual you can trigger the start/stop of a video (or take a photo) by using the LCD sensor or the built-in microphone.
From experience I know that the audio trigger is more reliable than the LCD sensor, but it requires that you set the trigger volume threshold according to the sounds in the environment.

Here's more information on the risks of using the custom firmware, and here's
the Magic Lantern installation guide.


You could try and add your own share destination setting into FCPX.
Click on the Share button in FCPX, then in the opened share window click on 'Add Destination'. In the right half of the window, you see all the possible options. Click on 'Compressor Settings' and another window will open. You might find and can finetune one of these settings.


Whats the best video camera for shooting weddings and Docs?

I shoot weddings and currently use a Canon 7D with a Zoom lens, it is all up to how you shoot and feel when shooting, I like the 7D as it is small and doesnt look to intrusive, I would like to upgrade to the Canon C100 as it would give me better options but still stay in the small form.

It is all down to personal preference in the end, You could just hire a few out and see if you like to feel, form factor etc as some people would say go ARRI and others would be DSLR route


I would duplicate the layer before applying time remapping (cmd+D).
Then only apply the time remap to one of the two layers.
Switch off the eyeball on the layer for audio (and make sure the loudspeaker icon is still enabled)
Switch off the loudspeaker icon on the layer with the time-remapping applied to it.


Making a picture slide-show in Premiere Pro

For a slide show in Premiere the only recomendation that I have is that you set in Preferences > General > 'Still image default duration' to the amount of time that you want a image to appear, so you don't need to adjust after you drop them on time line.

Set the 'Video Transition Default Duration' to an appropriate time is also helpful.

And to finish, don't forget that Control + d (or Command + d on OSX) can be used to apply the default transition to the selected clip or image.


It looks like you have 25fps (25 frames per second) video, so each frame is 40ms long (1/25 second). That means 5 frames of video would be 200ms. Your image shows a 20 frame clip, so it's 800ms long.


Which color space to use in camera while shooting video? RGB or YCbCr?

The question is impossible to answer in a general way.

If a camera offers to record in RGB, it is likely using a completely different codec that could be better or worse.  Very few cameras will actually record video in RGB, so if you see the option in a menu, it may be referring to something very particular about the color handling of video on that specific model of camera.

What camera? And what is the exact context of the option?


Why is ffmpeg outputting a 600fps video from a 120fps video input?

Update: The PTS entries of the input and output for the command below are identical in version N-79630-g9ac154d. Looks like the file is falsely flagged as VFR. But this single-step command below works for the sample video.

Use

ffmpeg -i input.mp4 -vf "crop='if(gte(iw,ih),ih,iw):if(gte(ih,iw),iw,ih)', scale=640x640" \
   -an -c:v libx264 -profile:v high -level 4.1 -preset veryslow -crf 20 -vsync 0 output.mp4

The framerate stored in the container (tbr) is 600, whereas the reported fps of 118.99 is arrived at by counting the number of video packets and dividing by the total duration. If this is not a variable frame rate stream, then add -r 118.99 as an output option.

For older versions,
Alternatively, output to MKV i.e.

ffmpeg -i input.mp4 -vf "crop='if(gte(iw,ih),ih,iw):if(gte(ih,iw),iw,ih)', scale=640x640" \
   -vsync 0 -an -c:v libx264 -profile:v high -level 4.1 -preset veryslow -crf 20 output.mkv

If you then mux the MKV to MP4,

ffmpeg -i output.mkv -c copy output.mp4

The resulting MP4 will show (close to) the source framerate.

Input #0, mov,mp4,m4a,3gp,3g2,mj2, from 'no-rc.mp4':
  Metadata:
    major_brand     : isom
    minor_version   : 512
    compatible_brands: isomiso2avc1mp41
    encoder         : Lavf57.34.103
  Duration: 00:00:02.75, start: 0.000000, bitrate: 2462 kb/s
    Stream #0:0(und): Video: h264 (High) (avc1 / 0x31637661), yuv420p, 640x640, 2444 kb/s, 119.88 fps, 600 tbr, 16k tbn (default)


Lossless extracting of JPEGs from an MJPEG video

The easiest way is to use ffmpeg or avconv.

The command:

ffmpeg -i mjpegvideo.avi -vcodec copy frame%d.jpg

will create a series of jpeg without reencoding.


Paper camera software filters for post-production?

Adobe Premiere should do exactly what you want - it has a ton of effects plugins.

As to your second question, any screen grabber video software should let you do this - you play the video and have your wacom sketch overlay running, and just use the screen grabber software to make a video of everything displayed on the screen.


Swapping video sides of side-by-side clip with ffmpeg

There may be an easy, quick way out, which is to remux to Matroska and set metadata to indicate that the right view is on the left.

ffmpeg -i in.mp4 -c copy -stereo_mode right_left out.mkv

Upload to Youtube and check.

Else, FFmpeg has a filter to handle this directly.

ffmpeg -i in.mp4 -vf stereo3d=sbsr:sbsl -crf 17 -c:a copy out.mp4

The filter interprets the input as side-by-side with right eye view on left side (sbsr) and swaps the halves.


Generate LUT from pre- and post-grade image

One method would be MatchGrade in Nuke (available only in NukeX and Nuke Studio). It can calculate LUT/CDL from two inputs.

https://learn.foundry.com/nuke/content/reference_guide/color_nodes/matchgrade.html

Blackmagic Resolve has feature for automatic shot matching, but I don't know if you can export LUT from that.


How to add simple textual animations to videos?

You can achieve that with ffmpeg. Draw text with drawtext command. And draw semitransperent beckground under it with  drawbox. You can see more in that question.

You can add animation of moving text  from side of video with Expression Evaluation.


FFMPEG encoder/settings for TEXT-LEGIBILITY and low file size?

Most codecs are motion aware. The problem you are most likely encountering is too many key frames. Every time a key frame is inserted, the encoder forgets everything and starts over. If you set your keyframe interval very high, (like 60 seconds) the bitrate will be progressively lower over time, until the next keyframe.


Codec/Hardware Advice on real-time encoding multiple HD streams

To do this, you would need real time encoding hardware and some seriously high speed hard drives.  I know devices like the Matrox MX-02 will work for 1080p30, but I'm not sure about resolutions higher than that and at 60p.  I think Black Magic Design has some 4k real time encoders but I'm not sure if they support 60p.  Multiple SSDs would also pretty much be a requirement.  Probably on separate controllers and even then the bus rate might be a bottleneck with that much data.


Play is sometimes very slow and other times it's very fast in After effects. Why?

You've answered your own question; when you preview in After Effects it renders first, then plays back. The default setting is that if you hit numpad-0 to initiate a preview it will render the frames it can until it either fills up the available RAM, gets to the end of the preview area (work area or end of comp), or you hit numpad-0 again, at which time it will play back from RAM, theoretically much faster.

In recent iterations of the software, the playback performance has got significantly worse. I don't know why AE can't easily play back even UHD previews from RAM or even from disc at real time or faster, just like every other free media player app can. You get better playback performance if you have a comp dynamically linked in Premiere, it makes no sense. Unfortunately that's just the way it is, and the only thing you can do about it is learn Nuke, Fusion or Blender.

Some tips for better real-time playback: updating the UI seems to take an inordinate amount of processing power. So having things like the graph editor, Lumetri scopes or even just the timeline visible while previewing will slow it down. I work on two monitors, and if I can't get real-time playback I will maximise (~) a window that doesn't get refreshed during playback, like the tools window, so that it fills the entire monitor, and that improves performance dramatically. Also making sure the comp window is zoomed to 100% will help, and if that doesn't work, lowering the preview resolution ctrl / ⌘shiftj to half or quarter ctrl / ⌘shiftaltj will speed things up.


Use

-af "volume=enable='gte(t,30)*lt(mod(t,30),3)':volume=0"


The artifacts are on the original footage because a DVD used some oldie MP2 codec, you need to live with it.

You could try using a denoiser, some of them can detect compression artifacts. I am not spamming or anything, but take a look at Neat Video Denoiser.


optimizing / compressing video for web with Quicktime

To add on to AJ's answer, Vimeo has a dedicated page on their preferred compression settings; Youtube has the same.

Check these out for some more specific information on which bitrate/codec to choose!


1080p video partly pixled after rendering

It honestly looks like something got corrupted with your export.  Have you tried encoding it more than once?  12 megabits per second with a 24mpbs peak should be more than sufficient for high quality 1080p video.  If anything, it may be excessive.  The quality you are getting looks more like what I'd expect at sub-1 mbps video for this quality level.  As an aside, it is worth noting that 2 pass will produce better results, thought it will extend encoding time.

One other thought is to try watching it in more than one viewer.  It is possible that the viewer you are using is struggling to decode the high data rate fast enough which could also result in the block issues you are seeing.  Basically, it looks like some of the blocks in the H.264 file are not encoding or decoding properly and that either means file corruption or insufficient decoding speed.

I guess to rule out data rates, you could try increasing it to 30mbps with 45mpbs peaks.  It shouldn't have to be that high (that's the high end of bluray data rates), but it should rule out the data rate entirely.

Update: From some additional reading, I would try turning on 2-pass and turning on the deblocking filter.  It supposedly should help.


In After effects how can I store the start and end point values of a gradient on one layer to generate the opposite values in another layer

This is very similar to your other question:
In After Effects how can I generate the value of an opposite x position and then send that value to an effect on another layer?
The answer is the same. Use a pick whip to link two controllers together.


Copying Effects from Photoshop to After Effects

The best way to achieve this is to import the PSD into After Effects, which converts the PS effects to AE effects automatically.

Make sure your effects are all on adjustment layers before importing, and make sure your document mode is set to RGB. If your PS document is a different resolution than your AE comp, you may need to move the effects from the auto generated layers to a new solid inside AE. This will not work if you are using layer masks in PS to manipulate the Adjustment Layer visible regions.

Hope this helps!


How to link the start and pause of an animation to a specific height from a null object?

You need to provide a bit more detail, but if you want an expression to happen only when a slider is above a certain value you can use if(something > somethingElse){do stuff here}.

To time an animation so that it starts at that point is more tricky. Expressions can't store variables; they just evaluate each frame. So to find how far through the action the animation should be you'd have to calculate the first frame at which the property went above the threshold. You can do this with a loop:

var propertyToWatch = thisComp.layer("someLayer").someProperty;
var threshold = 12345;
if (propertyToWatch > threshold){ // above the threshold, time to do stuff
    var t = 0;
    // now search for the time when the property went above the threshold
    while (t <= thisComp.duration && propertyToWatch.valueAtTime(t) < threshold){
        t += thisComp.frameDuration; //add one frame
    }
    // t now equals the time when the property went above the threshold.
    // so the animation's relative age is time - t
    var animationAge = time - t;
    //do the animation stuff here, using animationAge as the time constant
}

This expression will get progressively slower to calculate as the sequence gets older, because the inner while loop has to be evaluated for each preceding frame. But usually only a problem if you have lots and lots of layers with this kind of expression, or your comp is half an hour long.


ffmpeg mov_text subtitle too small when converting mkv to mp4

I consider subtitle text rendering is part of the player feature. If you are using VLC, may this link, https://wiki.videolan.org/VLC_HowTo/Adjust_subtitle_font_settings/, help?
I had tried on a mkv to mp4 video, before

After, I changed the VLC subtitle font size to larger, exited the program and replayed it again, i got


Mercury is enclosed within the bulb, and does not pose any threat to the user, unless the bulb breaks. In such case the amount of mercury released is still rather small, though it certainly makes sure to clean it properly. More important is safe disposal of the bulbs. See e.g. this article: https://earth911.com/home-garden/broken-cfl-clean-up/
LEDs can be tiring for eyes due to flickering. LEDs for photography should not flicker much, otherwise they will produce visible artifacts.


What you are asking is extremely difficult without some very expensive and complex software and video studio equipment. I learned some techniques in After Effects that were supposed to make an enlarged video look better (certain blurs and sharpeners, deinterlacing, etc) but I was NEVER satisfied with the results. Every technique made the enlarged version blurry or grainy. These techniques I just mentioned do improve the quality somewhat, but does not magically or vastly improve the quality like what everybody expects expects (not saying you do but in general).

It's would be easier for you just to stream from Youtube Live since it can be set to automatically record and upload your stream once its completed. It does so in HD or at least matches the quality of the stream.

I also find Youtubes general stream quality to be much better than LiveStream's.

Here is the official Youtube user guide on how to setup live streams. The guide little lengthy but it explains all the steps quite thoroughly.

http://support.google.com/youtube/bin/static.py?hl=en&page=guide.cs&guide=2474025

Notice Step 1, Part 8 with information about recording the live stream. Just remember that if your live stream is going to go over 4 hours, which in my opinion is tremendously long, you cannot use the recording feature. If this is one of the rare events or streams that would go over that time limit (maybe a huge concert or music festival) then a solution would be to have an "intermission" where you stop streaming at 3 hours and 50 minutes just to be safe. Then have a nice 10 minute break to do whatever you want!

One important thing to note when recording live streams with Youtube is that you can't edit the recorded stream once it exceeds two hours. This is kind of lame but I understand why it was necessary.

Additionally, it would be a good idea to record a local copy using an HD screen and audio recorder. In this answer I listed a few popular examples of screen recording software.


what's a good basic app to edit stop motion video?

Personally, for a quick-and-dirty solution, I use iMovie. You put all the stills into a new project, then you highlight them all, choose clip settings and disable the Ken Burns effect, and put the duration of the photo to 0.1 seconds (This is the fastest iMovie can handle).


Yes, it is possible. Such a concept is often called "render farm".
On the server side you could use tools like ffmpeg that can concatenate videos. To call it you could build a dedicated render service which works like a job management agent (think of sth. like Jenkins). The goal is to decouple the render jobs from whatever service/API your app talks to.
Maybe you can even use Jenkins because it has a REST API that enables you to trigger builds. Instead of a classic build job, your job will combine videos. This approach might save you some time.
However that is just a recommendation, other architectures are possible.
On the client side, there is one possible problem to be aware: all the raw video material needs to be uploaded to the server and bandwidth or uplink speed could be a limiting factor at some point.
On the server side you have to watch out for possible DoS attack scenarios and upload of malicious content.


You'll see an improvement with the 5Diii over the 77D without installing Magic Lantern, because the former has a full frame sensor, and the latter only an aps-c sensor.  Then, you're free to experiment with ML, use it if you like it, return to the normal firmware if you don't.  The major limitation that ML overcomes (in my opinion) is the maximum video duration.  Yes, it adds other bells and whistles, but it won't alter the fundamental physics of the camera, which is what you're getting by upgrading to a larger sensor.


How to ignore file name extensions while replacing source files for online editing in Premiere?

You can use "Replace Footage" (right click on a source clip in the project) to swap a file with another file, but I don't know of a good automated way to do a bunch of files at the same time.  I think it might be a manual process to wire up the clips unfortunately.


This is do-able with the Flash player, or with Adobe AIR which is a great platform for desktop programs.  The video would have to be encoded with cuepoints that were accessible, somehow, to the user. Maybe via buttons that allowed the user to choose which scenes to show or not to show. How much work do you want to do?


How to add typewriter effect in Davinci Resolve or Fusion?

In the Text+ tool there is a control for write-on that does exactly what you want. To quote from the Fusion 9 Tool Reference:

  Write On
  This range control is used to quickly apply simple Write On
  and Write Off effects to the text. To create a Write On effect,
  animate the End portion of the control from 1 to 0 over the length of
  time required. To create a Write Off effect, animate the Start portion
  of the range control from 0 to 1.

When they say Write-On, unfortunately they don't mean the hand writing effect more commonly called write-on (I got too excited when I first saw it), but rather what you called the "typewriter effect". Video tutorial here


Beginner: what software to combine 2 videos of a dance show

You are looking for a Non-Linear Video Editing packages or NLE.  Premiere and Final Cut Pro are two of the most popular, but they are also relatively pricy professional products.  There are also many cheaper and/or free options available such as Windows Movie Maker (Windows) or iMovie (Mac).  If you search for non-linear editing software or video editing software, you should find lots of possible options.


motion effects missing from adobe premiere elements 10

It doesn't appear in your panel as rotate, but if you go to your transform effect you will see roll and rotate options in there.


Should I just get a gaming PC for audio/video production?

I researched this when building my own computer for HD video editing about a year ago - I don't remember all of my sources, but there's a hardware guide on the Adobe Primiere Hardware Forum (very helpful place) that was a big help. That guide is several years old, so the specific hardware recommended is out of date, but the principles are still there.

Basically, most gaming PCs are going to have a more powerful graphics card than you need and less RAM than you'll want (and possibly inadequate hard drives). It's better to build yourself, but if you're going to buy an off-the-shelf model, a gaming PC will probably serve you better than one that's not (since most of the manufacturers' high-end stuff is geared toward gamers). There are companies that build PCs specifically for video editing, but they are VERY expensive, especially compared to what you can do yourself. I built mine for around $1000, which is what I would've paid for the Dells and HPs I was looking at, but I was able to get exactly what I wanted.

I don't know about audio, but for video, I'd recommend:

The fastest processor that fits your budget (use benchmark scores, not clock speeds, to compare)
Fast hard drives. An ideal setup from what I've read (and based on Premiere benchmarks) is to have a small SSD for your boot drive and a RAID array for the actual editing. Those are fairly expensive, but at minimum, you should have 2 hard drives, one to boot and one to work in (and do NOT get 5400 RPM models).
A mid-level graphics card. I've got a GeForce GTX 550 Ti and it handles my 1080p/60fps video just fine.
RAM will depend on what software you're using (as will all of these, but RAM more so). For Premiere CS5+, for instance, you probably want at least 12 GB; I use Lightworks, which is still a 32 bit program as of this writing and therefore can't use more than 4 GB.


Can I manually change an .mp4 to .m4v by changing the extension in the Finder (mac) or explorer (win)?

Yes.

M4V is a slight extension to the MP4 container format. M4V is Apple's version, which adds optional DRM-encryption.

So if the video is DRM-protected (i.e. came from the iTunes store) it should stay as m4v (and will open by default in iTunes). If it's not, it can be used with either extension, and many players will be happy either way. By default, .m4v files will open with iTunes, which may be convenient.


Using 1080i on a 720P monitor will produce better image/video quality?

Native resolution is always better than non-native.  If it only has a resolution of 720p, then it would have to be down-converting to that resolution which means it has to blend pixels which can produce artifacts from the pixel blending.  (Notably, softer edges is the most likely.)

Update: I'm sorry, re-reading, I noticed that it isn't native for either resolution.  I didn't read closely enough as I was a bit tired when responding just before bed.  Given that the resolution exceeds 720p, it would probably be better to use the higher resolution, though the interlacing would be the bigger problem.  I'd suggest trying both and picking whichever looks better to you.


How to record a video with different background without having a green screen?

If it's a static shot, you can try using a difference matte. It doesn't work as well as a chroma key, but it might do the trick. The idea is you'll set up After Effects to key out everythi


After effects Timeline display: frames into milliseconds

Here's a workaround:

Create a left aligned text layer - type a zero. Format to the size and colour of your choice.
Twirl down this layer, twirl down text, ALT click the stopwatch on the Source text property. In the expression field that opens in the timeline, replace the text with:

Math.round(time*1000)+" ms"

click out of the text field into a blank area of the timeline.

The text will now show the time of the current frame in milliseconds.


Creating menu for a video file (not for DVD)

Looking at what Mr Henderson was saying, it appears you will need to have some basic programming skills to do what you want.  The system he provided a link to appears to be based off of a markup language (similar to HTML if you've used that).  If you aren't afraid to get your hands dirty with some basic programming that would be the way to go.
(details here: http://forum.doom9.org/showthread.php?s=&threadid=66583)

Alternatively you could use Encore and create an image (ISO) of the DVD, but I'm not sure if it's possible to run a disk image independently of a disk.

I will play around with Adobe Encore tomorrow and see if there is a way to export a standalone menu.


What pixel count is required for a near perfect digital copy of an old movie?

In reality, I think the other forum was a good place to ask. But people there tend to vote to close the moment they see the word "video" :o)

It is a bit complex to answer. And old movie could probably not have a sharp focus because of the lens, or the grain of the film. Probably there are inconsistencies in the filming across all the movie.

Even today some scenes in some movies are filmed using normal digital film and some other action scenes could be filmed in Imax.

And because you did not have pixel-peeping mania like some times we have.

You could find some papers, like the ones Xiota pointed in the other forum, stating that film can hold information on XXX Mpx. I have not seen a real-life comparison making large prints using both media in equal conditions, probably using the same lens.

There is a difference between the theoretical limit vs the real-life limit. You can argue that the size of the silver crystals is the real limit, but in reality, it is "only" grain.

To answer this you would probably need to know

The size of the frame.
The grain of the film, probably based on the ISO.
Lens used.

Not only the year of production, but that would give you some hints.

But there is more to it, mainly if the scanning has a post-process.

Here is a restoration, reescalation and re-fps-action of the "arrival of the train" The Lumière Brothers, 1896.


Which cameras produce video that can be edited on a mac without transcoding?

One way is to ask the people in the shop you intend to buy from.
Or (if you plan to buy online), narrow down to a list of potential cameras then ask again here with specific camera names.

Another idea is, if you have a compatible memory card, go to shop, ask to try the camera then shoot some video with your memory card in.
Then you can bring your memory card home and try it out.

I've done this with a digital SLR so I could check out the image quality on my computer.


Should I shoot at 1080p if I intend to use 720p on the web?

There is no one right answer to this very general question, but here are the considerations.  Some cameras (such as the Canon EOS DSLRs) have very naive line-skipping algorithms to decimate their normally very high resolution down to FullHD or HD video.  Such algorithms create lots of aliasing noise, which is further aggravated by further image scaling.  Other cameras are more intelligent about how they match the sensor's native resolution to the desired recording resolution.  RED cameras, for example, crop down the sensor so that whether you are recording at 6K or 5K or 4K or 3K or 2K HD resolution (1920x1080) you are using precisely the RAW pixels, not some interpolation or decimation thereof.

Another consideration relates to the actual recording bandwidth of your system.  If you are recording at a fixed rate (such as 28Mbps AVCHD), then a 1080p video will, necessarily, have to employ greater compression than the 720p video, because the 1080p has 2x the spatial resolution of a 720p video (and both have the same bit rate).  If your fixed recording rate is 200Mbps (such as is offered by the Panasonic GH4), that might be so generous that you really are getting very high quality for both 720p and 1080p.  So it depends on whether your camera's imaging system is well within, at the limit of, or past the point of a good compression tradeoffs.

Finally, 1080p streaming might strip out way more quality from your 1080p master than exists in even your 720p master.  In which case a high-quality 720p master might be all you need.

The places where video quality really gets down to the pixel level are typically within the post-production process, pulling keys, doing color correction, sharpening, etc.  Once you have a high-quality master, streaming compression will probably obliterate all differences in your 1080p vs. 720p masters.  Unless you have a notorious camera known for particularly poor quality in the first place.


I would suggest using Braw Constant Quality Q5.

With 21-58MB/s it is on the lower end of data consumption while still giving you RAW capability.

BRAW gives you the RAW capabilities like Blackmagic Highlight recovery, changing the ISO, lossless color temperature changing. And 12bit colors.

ProRes gives you higher compatibility (Braw is currently only supported by Resolve) and "only" has 10bit Color.


Look at it from a data rate point of view: a GH4 records 4K at 100 Mbps.  A RED Carbon Fiber WEAPON records at 300MBps.  That's 24x the data rate.  Look at how very much more expensive it is to purchase a CPU that's 10% or 30% faster than "normal" and you might then have some understanding of how much more expensive it is to offer 10x or 30x the performance in a camera body.


FFMpeg -filter_complex to place a video in a window on a larger image with text

Edited to change to additive blend.

Use

ffmpeg -loop 1 -i mic720x1280.png -i waves5.mp4 -filter_complex "color=0x000000@0,format=gbrap[bg];[0]format=gbrap,drawtext=fontfile=Montserrat-Bold.ttf: text='Hello': fontcolor=white: fontsize=44: box=1: boxcolor=black@0.5: boxborderw=10: x=(w-text_w)/2: y=100,setsar=1[img];[bg][img]scale2ref[bg][img];[bg]setsar=1[bg];[1]scale=500:-1,format=gbrap[vid];[bg][vid]overlay=70:70:format=rgb[vidbl];[vidbl][img]blend=all_mode=addition" -c:v libx264 -t 15 -pix_fmt yuv420p myvid.mp4


No there isn't.

You could nest each section from your master timeline into it's own timeline, from the in and out points of where your start marker to your next would be.

That is the only thing I could think of. You could still work off the master timeline provided you dont do any time shifts / move any content up or down the timeline.

Then you could batch out the sequences to AME and apply the pre-set to all of them at once for export.


Video trim in hour:minute:second:millisecond format

For time marks try: "01:02:26.060", "01:02:28.785"
(hour:minute:second.millisecond)


Is ok to post on youtube or vimeo custom resolution videos?

A custom video resolution has no bearing on quality here; only the choice of encoder, bitrate/rate factor and other parameters will impact the final result.

Youtube's player frame on its site is always 16:9, so if your video has an aspect ratio other than 16:9, YT will automatically add black bars as necessary. No need for the uploader to do so. However, if you decide to embed videos hosted on Youtube elsewhere, you can specify a custom frame size in your embed code which matches the aspect ratio of your uploaded video. In which case, your video will be displayed with no black bars. So, best practice is to never manually append black bars.


Corrupted video (Green/pink) on Premiere Pro CS6 in Win8.1 Pro 64bit but not on Mac OS Yosemite

You can change
Disable GPU acceleration of effects

Choose Project > Project Settings > General.
In the Video Rendering And Playback section, select the appropriate renderer: Mercury Playback Engine GPU Acceleration or Mercury Playback Engine Software Only.

It Worked For Me


DaVinci Resolve: Difference between adjusting Y or YRGB

My statement that the effect looks the same was incorrect. The use of these sliders is explained in the manual, in "Primary Grading Controls" -> "Color Wheels Palette" -> "RGB Lift/Gamma/Gain Sliders" (page 725 in the v14 manual).  Quoting:

  ... These three controls allow easy Y-only adjustments to contrast, where an increase in contrast results in perceptually diminished color saturation.

  Making Y-only adjustments to contrast is a great way to increase contrast when you’re going for muted saturation or a gritty look. This kind of adjustment is also useful in situations where you’re trying to increase shadow density without increasing image colorfulness.


Stream desktop (linux) with FFMPEG to VLC

No need to use ffmpeg here:

Open VLC, go to Media > Open Capture Device and set Capture Mode to Desktop

Also see:

https://wiki.videolan.org/Documentation:Modules/screen/
https://wiki.videolan.org/Documentation:Command_line/#Desktop.2FScreen_grab_options


Component YPbPr to VGA with monitor that supports Sync-on-Green

It works for me, but everything has a green tint and the higher the brightness the less any color but green is visible.

Using a sony trinitron.


How do I properly bake a texture in Cinema 4D?

When you bake an object in C4D you get several options which passes you want to be applied in the final baked texture. You might want to try to generate new UV's by not ticking the "keep UVs" setting. If you want to bake lightning you have to tick the luminance pass for that.

Also be aware that the baked object might look horrible in the viewport but will look perfectly fine when rendered. Thats just a thing of how the OpenGL viewport is interpreting the material.

Though you're model does look a bit weird after baking. Are you sure this was a polygon object and not a nurbs object or a diffrent non poly object generated from a plugin and you are missing some interpolation? If thats the case you might want to turn it into a poly object first, maybe some subdivision setting differed for rendering and the viewport.


Eye drops or saline are certainly simple. Alternatives include blowing dry air at the face just before action, or rubbing the eyes.

Can your actor not use the old tried and tested method of remembering the death of a childhood pet?


AE - Imported mp4 seems to be missing audio

If you just play the comp it won't play audio. You need to do a RAM preview. Hit 0 (zero) on the numeric keypad or Ctrl+0 if you're on a laptop.

. (period) on the numeric keypad (or for laptop ctrl+.) plays just the audio from wherever the playhead is.

If your footage does have audio, you will see the waveform in the preview thumbnail in the project window, and the item description will tell you the audio format, as below (in this case 44.1kHz, 16 bit unsigned pcm, stereo audio)

If the clip has audio and you bring it into a compositon you should see a little speaker icon on the layer with the audio, next to the eye icon, on the left.


Changing duration of multiple After Effects layers at once

Yes.

Select all of the layers.  Move the time cursor to where you want the layers duration to end.  Press alt + ]. This will extend your layer to that position (if it is able to be extended).

Pressing alt + [ would adjust the in point

Pressing Press [ or ] on their own would move the in or out point of the layer to your current time position.


MKVToolNix Splitting and Joining Stutter

Try using a different video encoder when you create the original file. If that's not under your control, you can file a bug agains MKVToolNix, the author is "always grateful for good bug reports": https://mkvtoolnix.download/

Alternatively, try using ffmpeg to join the two parts: https://trac.ffmpeg.org/wiki/Concatenate


Extract multiples images from multiples videos with ffmpeg

After @Mulvya reply, I made the following changes:

First, I must put all in a single file.
According with the Mulvya answer, a "concat demuxed input" don't have a "fast seek", so, first I created a gopro.txt file with the following content:

file 'GOPR0940.MP4'
file 'GP010940.MP4'
file 'GP020940.MP4'
file 'GP030940.MP4'
file 'GP040940.MP4'
file 'GP050940.MP4'

Then, "merged" all MP4 files in a single file, with the following command:

ffmpeg -f concat -i gopro.txt -c copy full_movie.mp4

Source: https://trac.ffmpeg.org/wiki/Concatenate

Now, I can extract in a fast way individual frames, with the following command:

ffmpeg -ss 00:15:00 -i full_movie.mp4 -vframes 1 frame00001.jpg.

Source: https://trac.ffmpeg.org/wiki/Create%20a%20thumbnail%20image%20every%20X%20seconds%20of%20the%20video (i put the -ss option first, like @Mulvya said).

Initially, I want to pass a list of timestamps to ffmpeg, but now, the extract of individual frames is very fast, that I don't need anymore. A simple batch file worked good.


Premiere Pro on Windows 10 N version - Can't import MP4

my dear friend
Windows alone is not enough, you need such peripherals
Use the K-Lite Codec Pack. After installing this item, you should not have any problems
The function of this package is to be able to run relevant codecs such as mp4 in Premier Pro
Good luck.


The problem is that cheap lenses (and even some expensive ones) do not know where the focus ring is actually positioned. They only know if they are in focus and which way to run the motor to get more in focus. For focusing, they don't generally need access to this kind of information because they get feedback via the AF sensor about if they need to keep going.

When shooting video, the PDAF sensor is covered and the only way to verify positioning is to continue until contrast decreases. This is why you get the focus hunting issue with contrast based auto focus such as what is used on most LiveView modes (unless the camera has a hybrid sensor that includes PDAF pixels.)

What Magic Lantern is probably doing to get around this is running the motor for a fixed amount of time to approximate the movement, but in cheaper lenses, the motors are particularly imprecise, so it is going to often miss the mark. There might also be an option to have it use CBAF for confirmation, but that will result in at least a minimal amount of focus hunting.

There's still no real software fix for what is really a matter of needing to be able to move from position A to position B exactly unless you have a lens that actually provides exact position information back to the camera (in which case, this information may be able to be used by Magic Lantern for giving an exact follow or rack.)


Getting hdmi signal of a camera to TCP/IP network and read on computer

I think that the best way to go is to use a mixer like the BlackMagic ATEM-series. I am working in a film-studio and have worked mainly with the ATEM Television Studio HD Mixer, which has all the capabilities you would want.
Mixers like these have SDI/BNC and HDMI inputs and are capable of mixing and converting each signal, using lower-thirds, live-keying (if you want to use a webcam with greenscreen) and much more. Yes, they are expensive, but if you're serious about this I would highly recommend it. You will have a better signal than through Wifi streaming or wireless transmissions...


How to time-remap with Twixtor in Adobe Premiere?

Just like with any effect property you can animate it by clicking on the little stop watch on the left of the effect property name (see below).

You can apply the effect to just a single clip, you don't have to use it on the entire sequence, just drag and drop the effect from the effect list onto the desired clip and then animate the speed of the video via keyframes.

A screenshot from the "Effects Control" panel:


What do I need for facebook Audio Live streaming?

I would consider just using your phone (use Wi-Fi depending on situation) :)

I found this great video of how to do Facebook Live Audio cast (click here).

For your situation I find it quite suitable to use your phone instead of your laptop. It will make it easier since both you and the guest are using a phone. Then it makes the whole process seamless.

You can buy external stereo mics for phones to improve audio drastically.

You can gradually build up a better setup over time once you get more comfortable with Facebook live. To be very good... it takes time :)

Try to have at least a 5-10mbps for a video live stream.


The key thing to remember about mounting any camera is stability. What makes Go Pro so attractive to many cinematographers are the many mounts available for it that fit the camera snugly on a helmet, car, surf board, or what have you. There will always be some motion when attaching a camera to say a helmet, but with the Go Pro helmet mount, you have minimized any residual motion. The only motion that is left is that of the helmet moving.

Trying to mount a camera to a baseball hat and expecting the stability of a helmet mount Go Pro or Contour camera is not easy or trivial.

First of all a baseball cap is not rigid like a helmet, there is flex built into the cap even in the beak. Adding an adapter may make things worse. You will have to experiment. Consider ways to make the cap as rigid as a helmet and ways to attach the camera so it moves with the cap without any swaying or extra movement.

For every design you think will work you will need to make test shots that cover the conditions of the actual production.

I think this can be done. But without your camera or your cap in my hands I would not venture a guess on how you go about it. This is truly hands on experimental kludge-0-matic work.


Clip quality severely degrades when imported into Premiere Pro CS5? (appears interlaced)

The problematic file could have been encoded using a different codec, which Premiere is unable to convert effectively.

If the file looks ok in QuickTime player, I would export it to the same format as your Premiere sequence, and see if it looks any better when you reimport it into Premiere.


Is there still a reason to buy camcorders?

It depends on the type of camcorder you get.  Most point and shoots use a cheap CMOS sensor.  The problem with this is that CMOS is read sequentially by line and results in an effect called screen tearing.

Basically, as you pan quickly, the lines at the top of the frame are in a different position than in the bottom so that you end up with a jello like effect where vertical lines become diagonal.  A decent camcorder should use a CCD sensor which can capture an entire image at the same time and thus you get smooth panning.

While high end DSLRs have done a pretty good job at accounting for this issue by reading their sensor very quickly, low end consumer models, particularly of point and shoots, will have a substantial issue with this.  If money is tight and you can only get one, then, yes, a Point and Shoot should do a passable job for home video, but there is certainly a lot to be gained by using a camcorder of similar quality.

Another factor to consider is that there are often time limits on how long of videos can be captured without stopping on still cameras.  You can thank the European Union for this fantastic bit of idiocy because they decided to charge a significant tax on video cameras and defined them as anything that can shoot 30 minutes of video or more at a time.  Due to this, most camera manufacturers place a completely artificial limit of 29 minutes, 59 seconds on continuous recording from any still camera.  Some do make different versions outside of the EU, but others seem to be worried that it will make the EU come down on them if they only do it for the one model for the EU.


How to make MP4 and MPG-2 720 x 1280 videos? (aspect ratio 9:16)

You need to make sure your artwork is at least 720x1280 in size.

Then open a video editing package like Adobe Premiere, Final Cut, or an animation package like After Effects.

Create a project with a canvas of 720 x 1280 pixels, and drag your artwork into it.

Make the timeline 10 seconds in duration (set in and out points on your timeline).

Export your timeline either in a higher quality video format first (like Apple ProRes 422 if you're in Final Cut), or export straight into the format your want (not all editing software exports in these formats).

If your software doesn't export in these formats, convert your ProRes file into the correct format using something like Adobe Media Encoder, Compressor, MPEG Streamclip, or Quicktime Pro 7.

Make sure you know what bit rate, frame rate, and color depth the video should be encoded at - ask whoever you're delivering to.  Set these when you do the export.

NB - I'm assuming 9x16 isn't a typo - most displays are 16x9 (16 horizontally and 9 vertically).  But as you said advertising displays, these are often in "portrait", i.e 9x16 aspect ratio.


Customize Date/Time title for Final Cut Pro X

The reason the one from Final Cut Pro doesn't have the "Region" control is because it has the "Animate" flag set. If you set the animate flag on yours, then select something else, and then select yours again, the Region setting goes away. I don't know if that's a bug or if there's some user interface design reason for it.

So if you want to change the region, I suggest turning on the animate flag, select something else, select the generator again and set the region. Then turn the animate flag off again. I'm not sure if it will take or not, but I bet it would.


What mounting adapter do I need for this shotgun mic?

If you're on a budget, and if you are making your own boom pole - I'm assuming you are, you could try this...
http://www.bhphotovideo.com/c/product/621574-REG/Interfit_STR116_STR116_Hot_Shoe.html

I'd gaff tape it for insurance.


Your understanding of sampling seems to be a bit off.  When downsampling from a UHD stream you don't have more information than a native 1080p sensor capturing it, you have less.  When the 1080p sensor is capturing video, it has near infinite points and photons it can capture as it is looking at a real life source.  Each photosite captures exactly what photons hit it (within the margin of error of the photosite anyway).

With downscaling, you have a much, much smaller amount of input.  All you have is the samples available and you don't know exactly where within the pixel they came from.  If the sample is an exact multiple, then it is still possible to make an exact 1:1 mapping by combining a group of pixels in to the only pixels they impact, however if you do not have an evenly divisible number of pixels, then you can't determine the exact impact of your new set of pixels from your old and you have to apply some type of imperfect translation between them.

This imperfect translation will produce less positionally accurate information, but also can have other advantages.  One advantage of downsampling is the reduction of noise.  Since noise is random, averaging multiple samples together will generally reduce noise when all other factors are equal.  It's ideal for this to be done at an evenly divisible interval to avoid needing to translate data between pixels, but the advantage is still seen with any downscale.

Getting back to your question however, unless you are shooting an even multiple of 1080p or choose to crop your sensor input to an even multiple of 1080p, you will have some type of translation of pixels.  If you want the most "natural" look, I would encourage using a resolution and aspect that allows you to directly map pixels.


Concatenate two video files with a dip to white with FFmpeg

Assuming input0.mkv is 10 seconds long:

ffmpeg -i input0.mkv -i input1.mkv -filter_complex "[0]fade=t=out:d=0.015:st=9.985:c=white[v0];[1]fade=t=in:d=0.015:c=white[v1];[v0][0:a][v1][1:a]concat=n=2:v=1:a=1[v][a]" -map "[v]" -map "[a]" output.mp4

Note that using your values with typical input frame rate will result in only a few frames being white which will appear as a flash instead of a dip to white, so I recommend increasing the fade duration.
All inputs must have the same parameters (width, height, etc).
See FFmpeg Filters for more info on fade and concat.


1080p is a large resolution. Based on the information you've provided, you're likely hitting a hardware bottleneck and won't be able to do much to increase your performance.


Resuming a large video uploading on Youtube

Yes.You can. It is officially announced the Youtube has brought up the FEATURE. If you had to abandon your upload for any reason, you have up to 24 hours to continue uploading where you left off.You can cancel the upload and whenever you want to download within the 24 hours time you can go to upload manager and select the same file and resume the upload.


Is the high-framerate crop mode in the Red Scarlet camera practical?

This question is pretty obsolete by now. The new SCARLET-W cameras support 5K WS (2.4:1) video at 60 fps, 4K WS at 150 fps, and 2K WS at 300 fps.  Matching field of view is a simple matter of mathematics, not magic.  If you want to match a 50mm lens on a 6K RED camera using a 3K crop, a 25mm lens will do well.  And the price of the SCARLET-W is now below what the price of the original SCARLET was in 2011, so you get a lot more camera, as well as more sensor, for less money.

It is relatively well-known that when shooting slow-motion footage, it is often useful to use an even lower compression level than for normal motion footage, which is unfortunate.  But the DRAGON sensor, in a WEAPON body, makes SCARLET-W 10:1 as good as SCARLET DRAGON 8:1, which in turn has been estimated to be as good as SCARLET MX 6:1.  You will want to use special noise reduction techniques if you shoot at the limit of the SCARLET-W, but if you shoot 4K WS at 60 fps, the 6:1 REDCODE is really quite good.  And 5K WS at 60 fps REDCODE 9:1 is also not bad, either.


How to disable overwriting in Premiere Pro cc?

There is couple solutions:

Use Alt+ Drag
Use Track Select Tool to move everything before and after dragging
Use Insert button (,) button from Source monitor

Good luck!


How to create a x264 (mp4) video with the smallest size using ffmpeg that has just 1 image through entire video?

ffmpeg will do it for you - https://stackoverflow.com/questions/5887311/ffmpeg-1-image-1-audio-file-1-video

If you want to provide good seeking ability, you will need to provide key frames at certain intervals in the encoding, which will increase the size of the video. The codec will encode the whole frame at each of the keyframes but greatly compress the intervening frames. By playing around with the value of the key frame interval, you can arrive at a good compromise for your needs.


If you have the logo or title in Black and white then you will simply mix between them as they mix differently on the video background. But the trick is making sure that your editor can do "layer math".
Perhaps you've noticed in Photoshop or other paint programs that you can do more than simply Mix 2 images together (like a dissolve)?

You want to look for a Blend type for the logo/title clip, some apps call this Composite type.

For the image to appear white over video, you would use the white
logo on a black background then mix by an "Add" function. Where the
image is black there is nothing to add. Where it is white then it
all gets added on top of the video.
For the image to appear black with video in the logo shape, you would use the white logo on a black background then mix by a "Multiply" function. Where the image is black the video gets multiplied down to 100 (or black). Where it is white then it all gets multiplied by zero (transparent).

Then apply a dissolve to then end of one logo blend clip into another logo blend clip.


Convert Uncompressed AVI to JPEG2000 in MXF

The JPEG 2000 codec in FFMPEG is still experimental. To use it you would have to compile FFMPEG by yourself with a special option enabled.

But you could use OpenDCP, which has it's documentation here. It needs TIFF images and WAV files as input, that you can produce with FFMPEG. The resulting MXF can be tested with the easyDCP player.

OpenDCP is available on all mayor platforms, but the easyDCP player only on Windows/Mac. But perhaps this is still an option for you, since you only need to run the easyDCP player once (on a friend's PC), just to be sure that the OpenDCP output is "according to the standard".


How do I fit the Comp length to a layers length in after effects?

This free script - rd: Comp Setter - should help.


Adobe Premiere Pro Says Exporting, No File Produced

Also make sure "Source Range" is set to "Entire Sequence" (below preview on left side of "Export Settings" pop-up.)

When you say "nothing happens" - does Media Encoder freeze? crash? does it say "done" and you can't find the file?


Basic method is

ffmpeg -i in.mp4 -itsoffset -0.6 -i in.mp4 -map 0:v -map 1:a -c copy new.mp4

FFmpeg will write an editlist in new.mp4. Players like VLC, Potplayer which parse the editlist will honor the delay whereas players like WMP, which don't, will start the streams at the same time.


Landscape video to show on iPhone 5/6 portrait mode? How?

Maybe you can identify a vertical section of the video in the shape you need, that you can crop out of the horizontal image, perhaps panning the 'window' to follow the central action. If you can't then you're stuck with severe letterboxing (blank portions top and bottom). There's no magic that can preserve aspect ratio while changing aspect ratio. Physics... dammit.


Importing an unsupported file type into Premiere Pro CS5

I've had a bit of account trouble, so I now have a different account and I can't log in to modify this question. So.. I'm going to answer my own question with what I have learned:

The video files I had were not supported by Premiere Pro. However I was able to play them (in VLC) and transcode them (in FFMpeg).

The real question I was asking above was: What codec should I transcode to? And How do I do the transcode?

After quite a bit of research it seems that the best editing codec for PP on Windows is DNxHD. This codec is not provided with Windows or PP, and must be downloaded here. There are other editing codecs out there, but they are either expensive (CineForm) or only work on Apple (ProRes).

It is important to note that files for editing should not e stored as H.264, even though you might capture them in this format, and you will probably release the video in this format. This is because H.264 is very slow for editing files, and with really thrash your hard drive and CPU.

I found a nice tutorial that describes how to do the transcode using free tools.


How to stack frames of a video together using lighten blending mode?

Use "Echo" effect. I believe it will suite you.

You need adjust it. Make number of echos equal to your frame count.


How could an 8-bit encoding take more memory than a 10-bit encoding?

Memory size

This is certainly not true for any encoding as reducing 10 bits to 8 bits is by definition reducing the size.

However, it is possible that some codecs adds a segment for alpha channel turning 24-bits (3 bytes (RGB) per pixel) into 32-bits (3 bytes for color RGB + 1 byte for alpha channel).

This way it may appear as if the video takes more memory, but it's the added alpha channel that adds to the data. In fact it would take the same space as the original 10-bits data (assuming there is only RGB) as it would use 32-bits to hold the 30 bits it represent. This is because in memory data needs to be aligned to a full 4/8 bytes segment to work efficiently so 30-bits data would take 32-bits (4x4 bytes) memory (this will become very technical and programming oriented so I'll leave it with that).

File size

The reduction of one number of bits to another can be performed in various ways such as shifting for example the 10 bits 2 bit places into 8 bits effectively cutting the two lower bits. This is the quick and dirty way of doing it leaving in general poor result but not affecting compression so much.

The other way is to do rounding and introducing noise to the data, what is called dithering. The quality is visually much better with this technique as a reduced representation, but it has one draw back: This noise will remove coherence in the signal and can increase the file size (but not memory size which would be the size of the raw image - the software will have to use uncompressed data for processing) as it's harder to compress as compression always bases it self on coherency. Noise is basically random numbers without much structure (I'm not gonna go into chaos theory and such :-) ).

For this reason the file size may become larger.


Speech Detection with Adobe Premiere

You haven't mentioned what NLE you use to edit, however here is a method you can use to transcribe if you are using Adobe CS4 or later.

This method uses speech detection to automatically transcribe videos - a feature brought in with CS4. It then adds the the text into the metadata of the file.

  Analyze speech to create text metadata

  Select a file or clip.
  At the bottom of the Metadata panel, click Analyze Speech, or Analyze (Adobe Premiere Pro).
  Set the Language and Quality options, and select Identify Speakers if you want to create separate speech metadata for each person.
  Note: Speech Search can use any of several language-specific and dialect-specific libraries, such as libraries for Spanish and UK
  English.
  Click OK.
  The spoken words appear in the Speech Analysis section.

  To retain the speech metadata, save the project.

Obviously this depends on the quality of the audio. Good clean audio will provide the best results. Its also worth noting that Premiere uses Soundbooth to process the detection, so if your audio wasn't up to scratch you could clean it up in Soundbooth, and then perform the analysis there.

VLC Scripting

I came across this article explaining how to take the current timecode from a video and add it to a text document for transcribing. The title of the article states its a method for Linux. However I'm sure it would be easy enough to take the method and apply it to Windows or OSX.

Manual

In regards to your current method, it depends on how many times you fall behind. When I have transcribed video I have done it at full speed but I haven't bothered to fix errors while I'm typing. Usually I'll go back and fix it up later - and being that they are just for editing purposes they don't need to be totally correct.

Manual live tagging with Adobe Prelude

You might also want to have a look at Adobe Prelude CS6. It's an ingesting and meta logging program. One of its features is that it lets you add markers (and name them) in realtime as you are watching the video.


How to create a light wall in after effects?

Most light walls in AE are made using a matrix of sorts, rather than individually creating many light layers.  Trapcode Form would allow you to create a 2D array of individual glowing particles, which can then be "driven" by another layer, to adjust the brightness of each individual particle.  A lamp image could be used for the particles, and additional glow effects can then be overlaid to make the effect more convincing.

There's a page here listing lots of different ways of achieving the same effect:

http://provideocoalition.com/ryoung/story/led_and_casino_text_effects_in_after_effects/


How do I make video tutorials of someone(s) working through a website on their computer?

Camtasia is probably the leading software for creating video tutorials, it has the ability to smooth mouse movements, the editor gives you the ability to add text, transitions and other effects as well.

The software is quite expensive. It has a free trial for 30 days, however videos exported will have watermarks.

If you already have access to video editing software, you may be able to reproduce the same effect setting keyframes for start and end positions of a mouse cursor graphic and animating between those two points. You would need use screen recording software that hides the cursor as you will be using your own graphic of a cursor.


Why is this ffmpeg command outputting such long clips?

I found that the time after -t has to be in the format 00:00:00. So, for a two minute clip, the command is:

ffmpeg -i input.avi -sameq -ss 01:05:16 -t 00:02:00 clips/output.avi


Can anyone give me a thorough explanation of some of the FFMPEG commands?

That's a very general question, you will have to ask for a specific command if you want help since ffmpeg has a loooooot of options. But you can use the following command to get help:
-h      -- print basic options
-h long -- print more options
-h full -- print all options (including all format and codec specific options, very long)
-h type=name -- print all options for the named decoder/encoder/demuxer/muxer/filter/bsf/protocol
See man ffmpeg for detailed description of the options.

If the output is to long you something like: ffmpeg -h |more
And it shows a part of the text on the screen everytime you pess a key...


What is the significance of this "RED, Digital, and Film Format Size Chart"?

Based on this illustration, you are able to compare the sensor sizes of red cameras with film formats like 16mm, 35mm or 70mm imax and so on.


Source ProRes 422 Proxy / Edit / Export to ProRes 422 proxy?

Definitely proRes 422HQ.

While you won't gain anything by encoding in a higher quality codec, what you will do is avoid losing more.

Proxy codecs are just that: stand-ins for the real content, their job is not to faithfully encode the material, it's to be lightweight and easy to play, so you can swap in the full quality copy later. Whoever it was that shot Proxy, give them a whack upside the head to remind them not to do it again.

Export to proRes422 HQ as your master, if you need copies that don't take up so much space, say for delivery on the web, then transcode to h.264.


How can I fix time-lapse image sequence exposure in Premiere?

There is no easy way I'm aware of. It's really important when shooting a timelapse to use fixed manual exposure so that you get consistent exposure from shot to shot.  It's a non-trivial task to get color to match from one image to the next if exposure doesn't match because you have to worry about not only the black point (darkest point) and white point (brightest point) but also the gamma or rate of change of colors in between.

Additionally the actual light level may have changed while shooting and you don't want to cancel this out.  Also, depending on how you had the camera set, it is also possible the white balance may have been changed which would further complicate things.

If it is really, really far off, you could try doing a batch auto-level or auto-curves operation on all of the images in Photoshop and see if that gets a usable look or not, but if the exposure was calculated differently by the camera, then most likely the result from the auto-level and auto-curves will also differ.


AE Expressions question - why isn't my code working?

Typo on line 2. It should be thisComp.layer("DotMaster").index not -index.

Also, while it's valid, the first parameter to the random function on second last line -randomTimeAmount makes me nervous. I'd recommend changing it to 0-randomTimeAmount. It's more explicit, and less prone to accidental typos.


Is there a way to export a list of all files used in an Adobe Premiere Pro project?

Just in case, you want to copy the files afterwards somewhere: You could convert the project to a team project, if not already and use Edit->Team Project...-> Media Management to copy all files to a shared storage.
But for a plain list you best go to File->Export -> Final Cut Pro XML. Make sure you haven't selected any clip in Media browser, because then it'll only export information for that one. With nothing selected, a copy of the whole project file should be converted to the XML file. The benefit: unlike Adobe's own format, this XML is human readable and it contains all file paths. Just search the document for <pathurl> and you find the file path there but with special characters escaped (meaning those are replaced, e.g. the space character is expressed by %20).
One way to get a clean list, is to use a text editor with RegEx (=regular expressions) support. Sometimes usage of regular expressions varies a tiny bit with different tools. The following has been tested with the text editor Sublime for Windows, press Ctrl+H for the replacment dialogue and make sure to click the button with .* as text. In case you use macOS, I am sure there are similar alternatives available or pre-installed.

use ^((?!<pathurl>.*</pathurl>).)*$ and replace it with nothing to get rid of everything but the pathurl parts
replace \s with nothing to remove the tons empty lines.
replace <pathurl>file://localhost/ with nothing
replace </pathurl> with a line break \n.

Finally copy everything into a tool like URL Encode Decode (and press decode URL) to get a list with those %20 and similar escapings removed. You could replace them one by one in text editor, but depending how many different escapings there are, this would be too much work. Oh, and finally replace the / with \ if you use Windows (or \\ in RegEx syntax).
Of course, if you do it more than once, it might help to write a script or a program, that extracts those XML parts. However, this would be well beyond the scope of this question. Alternatively you could look for XML tools, which might make things much more convenient for you, but I'm not aware of a good tool that does this job better than a text editor with RegEx support.


Windows Software to record from Webcam & Screen

Personally I use Camtasia Studio and SnagIt. TechSmith, the vendor, has created their own codec for their software which IMO works excellent.

You will probably find Camtasia a bit stiff when it comes to the price compared to your budget, but I mentioned SnagIt for this reason although it's primarily to capture screenshots it do have built-in video recording as well using the same codec as its big brother.

It's simpler and you will probably want to convert the result and edit it in a third-party editor (Camtasia Studio comes with its own editor which is in part why the price is higher).

I never recorded 3 hours but I did more than an hour which was without problem. The key factor here is to have enough space on the disk you record to.

My 2 cents..


Is HDMI 1.4 backwards compatible with 1.3?

A 1.4 cable should work fine with a 1.3 signal, however an HDMI 1.4 signal will not work with an HDMI 1.3 cable or an HDMI 1.3 output unless the source is capable of using a prior standard.


Help with a Video streaming a Meeting and archiving it in HD using 1 camera

It sounds like you need a video conferencing platform.  Platforms like WebEx, GoToMeeting, Microsoft Lync or Adobe Connect.  All these platforms are designed for handling video feeds from multiple locations along with screen sharing and most of them support reasonable to high quality recordings of the meetings as well.

Several of these platforms also support larger scale conference modes where you have a small number of presenters (that can be at remote locations) but a large number of spectators.


Rendering bits from multiple GoPro 7 footage into one file to save space and time without loosing quality

What you are looking for are lossless codecs. Export with the exact same settings that your footage was recorded in, but use a codec such as Prores4444xq or DNxHD, with no subsampling and 16 bit video-depth.


Closed Captions missing when converting from mp4 to ts

The subtitles in the MP4 is a mov_text (tx3g) stream which isn't supported in MPEG-TS.

MPEG-TS support either DVD subtitles or DVB teletext. The former is a bitmap subtitle format and ffmpeg can't convert text to bitmap. FFmpeg has no encoder for the latter. Your best bet is to burn the subtitles but this means re-encoding the video.

ffmpeg -i in.mp4 -vf subtitles=in.mp4 -c:v libx264 -c:a copy out.ts


After Effects - Shape layer obscures graphics layer unless positioned at bottom

Probably a dumb question, but is your circle the same colour as the rocket?
Then it would appear to obscure the rocket...

Alternatively -
There could be some kind of matte on one of the layers?
Click on the Toggle Switches/Modes button at the bottom of the list of layers in the timeline, and see whether any mattes are switched on.


How to mask an animated layer in After Effects?

I found this post helpful: Preventing a Mask From Animating

  Create a comp size solid above your text layer.
  Apply the mask to the solid.
  Set the Track Matte setting of your text layer to Alpha Matte.
  The text layer will now adopt the alpha channel of the masked solid.

  You can freely animate the text and mask independently.

I did not know the name of what I was trying to do. I needed to convert the mask layer into a Track Matte.


Extract PTS, Frame Number from a TS file using the bytes representation of it

As per my reading of the demuxer, this is the method to derive the PTS from a base 16 dump.

b'4700ff1de05ca7686c2b43f5e37e6dafd388761c36900ab37...

Skip the first 7 bytes, or more precisely, the first 3 bytes after the PID (00ff). The timestamp is derived from the next 6 bytes.

a7686c2b43f5

There are two components to the PCR - the 90 kHz clock and a 27 Mhz extension.

First left-shift the initial 4 bytes by 1

a7686c2b << 1 = 14ed0d856

Then right-shift the 5th byte by 7 i.e. isolate the high bit.

43 >> 7 = 0

Bitwise-OR the above two results.

14ed0d856 | 0 = 14ed0d856

The above result is the first component C1.

Now, isolate the low bit of the 5th byte and left-shift it by 8

(43 & 1) << 8 = 1

Bitwise-OR this result with the 6th byte

100000000 | f5 = 01f5

This is the 2nd component C2.

The timestamp in the 27 Mhz timebase is C1 * 300 + C2. In seconds, that is

(5617277014 * 300 + 501) / 27000000 = 62414.189063s

You can ignore C2 and just divide C1 by 90000 to get a less precise timestamp.


Using ffmpeg with avfoundation, capture_cursor and capture_mouse_clicks options are ignored

Place those options before -i "1"

In ffmpeg, parameters and flags apply to the next input/output entry.

So,

ffmpeg {-flags for input1} -i input1 {-flags for input2} -i input2 {-flags for output1} output1 {-flags for output2} output2


In Premiere, is there an easy to way to extract sequences into new projects?

There are two ways to do this; since they both have their merits, I'll include both of them.

1. The Project Manager

Open File → Project Manager. It's pretty straightforward, just select the sequences you want to export. If you want to clean up the preview files, uncheck Include Preview Files. Select the target directory and click ok. Repeat this for every sequence you want to export to an individual project. The problem with that approach is that this will also copy your media assets to the new project's directory, which you might not want.

2. Importing sequences

Another option is to import sequences from other Premiere project.

Create a new project in Premiere.
Select File → Import.... In the pop-up window, select your old project file that has all the sequences in it.
Another dialogue window will pop up asking you whether you want to import the entire project or individual sequences. Select Import Selected Sequences.
This will open another window where you can browse your old project and select the sequence(s) you want (to select multiple sequences, hold CTRL / CMD while selecting them).

This will not copy or move your media assets to a new directory. Instead it will just import the selected sequence(s) and all media assets it contains into your new project. This however will not import any assets that aren't used in your imported sequence(s). So if you're still working on one of the imported sequences in the new project and want to add clips you had already imported in the old project but hadn't used yet, you'll have to import those manually. To prevent that, import all media assets that are relevant to the sequence into your new project before importing the sequence and make sure Allow importing duplicate media is unchecked in the import dialogue.


error editing a long video using VirtualDub2

Issue is with the audio track, which needs to be converted/compressed.

See

https://sourceforge.net/p/vdfiltermod/tickets/162/

for steps on how to avoid this issue.


I believe that dailymotion.com can have 50 fps videos, though the recommended is 25 fps. Here is an upload that says that it is in 50fps.
I am not completely sure, so you might have to just end up converting it to 25.


After Effects Layer Properties Interaction

For the blur, just use the pick-whip to link the properties. you might want to read up on how to link properties with expressions using the pick whip.
For the opacity, you'll need some javascript. what you want to do is set the opacity of L1 to if L2 blur is 0 then 0, or else if it's not  equal to 1 then 100%.

let L2 = thisComp.layer("layer 2 name");
//use the pick whip to get the actual property name here
let blurAmt = l2.effect("Blur effect name")("Blurriness or whatever");
//set the opacity to 0 if bluriness is 0 '===' means 'exactly equal to'
if (blurAmt === 0){
    0
} else if (blurAmt != 1) { //'!=' means 'not equal to'
    100
} else {
    ???? // you haven't specified what you want the opacity to be if L2's blur is 1
}


Sony Vegas - render allowing source to adjust frame rate?

I just wrote a nice detailed answer but somehow I deleted the draft. To save time, the simple explanation (EDIT: I haven't gotten this from experience; I'm just going off what people have told me in the past):

Changing your frame rate to a fixed one produces exactly the same quality as using VFR (allowing the adjust of frame rate).

Checking the allow source to adjust frame rate button varies the frame rate in the rendered video for each source file. That means that if one of your source videos is 30fps and the next one 60, the frame rate will change when the next source video plays (from 30 to 60 in this example). I cannot think of a disadvantage of this, although re-editing the rendered video may be a bit weird (as shown in OSFirstTimer's YouTube video). Also shown in OSFirstTimer's video is that most phones record VFR videos but VEGAS Pro usually corrects that.

If you want to enable solid frame rate (Constant frame rate or CFR) follow this simple 2-step procedure:

Find the source video with the highest frame rate
Set your project to that frame rate

I'm new to Stack Exchange, so hope this helps!

Edit:

@Gyan in the comments says that this is not the case because "outputting a 30 or 60 fps project timeline consisting of a 30 and 60 fps media clip with 30 or 60 fps output frame rate all result in CFR output."

We all learn something new every day! :)

Also I haven't had a dilemma between CFR and VFR before, I'm just going off what I've seen happen to other people!