How to change shutter speed on manual mode when movie setting is on?

If your shutter speed would be slower than 1/50, you wouldn't be able to make a movie.

A movie is a sequence of (typically) 24 or 30 pictures ('frames') per second; so to be able to make 30 pictures, each picture can only take 1/30 of a second. Considering that the camera needs to do some processing and refreshing of the receptors, 1/50 is just enough time to make those 30 shots in second.

You can check if your camera has a time-lapse setting, which means you take less than 30 frames per second, then you might be able to set a slower shutter speed. However, the result might be unattractive because any moving objects would be smeared.


Convert Vertically Stacked video to horizontally stacked via FFMpeg

You would crop the full width and half-height. Then use hstack to join them.

ffmpeg -i input.mp4 \
-filter_complex "[0:v]crop=iw:ih/2:0:0 [left]; \
[0:v]crop=iw:ih/2:0:ih/2[right]; \
[left][right]hstack[outv]" \
-map "[outv]" -map 0:a -c:a copy output_3dv.mp4


I have done this sort of thing using ffmpeg and powershell core (both free software).
You can use any other scripting language to loop over ffmpeg once for each section of video that you want to keep. The ffmpeg command that you want looks like this:
ffmpeg -ss [start_time] -i [input_file] -to [end_time] [output_file]

So, and example would be:
ffmpeg -ss 00:10:01 -i source_vid.mp4 -to 00:30:00 output_vid_2.mp4

And if you have a whole lot of such pieces to cut in a batch, you can then use powershell or some other scripting language to loop through a list of pieces to cut:
$segment_list = @(
@{ id = "1"
   start_time = "00:00:00"
   end_time = "00:05:00"
},
@{ id = "2"
   start_time = "00:10:01"
   end_time = "00:30:00"
}
)

foreach($segment in $segment_list) {
   ffmpeg -ss $segment.start_time -i source_vid.mp4 -to $segment.end_time ("output_" + $segment.id + ".mp4")
}


Depending on the format you have your video, one option is VirtualDub2.
It is a free linear editor, but it is good to trim a video without recompression.
Go to the Video Menu and choose direct stream copy. Do the same with the audio.
You need to do it one by one. Make a backup first. Open the video, cut the end of it first so you do not need to recalculate the timing and then cut the start of it, and save with a different name.
If you want to automate it and you are fine with command lines, try FFmpeg.
https://www.google.com/search?q=ffmpeg+batch+trim+video
If you need to do a bit more, like adding fade in and out, and control a bit more the trimming, you can use a free nonlinear editor, but most of them will recompress the video. Davinci Resolve, Hit Film Express, Open Shot for example.


Recommandation for on-premises video file transcoding server accessible via REST API?

Telestream used to make one called FlipFactory that I have used (a long time ago). I believe it's called Vantage now. https://www.telestream.net/vantage/overview.htm
A lot of people do this kind of thing in the cloud now using things like Amazon's Elastic Transcoder
https://aws.amazon.com/elastictranscoder/


How to line up two audio tracks in Premiere Pro?

Audio in Premiere can be aligned by analysing two or more audio files and automatically comparing for similarity.

For the audio recorded on separate microphones, select both clips, right-click and select 'Synchronise'. Select 'Audio' as a synchronize point and press OK.

You can use the Source editor to fine-tune the in and out points to remove any silence before and after the microphone recording.

This feature can be extremely useful for aligning multi-cam footage.


Crop a video with a moving crop area of fixed size

I recommend AVISynth (a script based video editor for VirtualDub) and the DeShaker plugin.

You can learn a minimum amount about AVISynth and simply load DeShaker, have it stabilize on the person's body and it will follow them smoothly as they move.

You will have a finished product that is stabilized as a bonus.

You can also learn more about AVISynth, establish precise crops that are animated to follow the person, and get a perfect result (based on the quality of the input). You can set your moves with frame and pixel accuracy by typing numbers into the script and reloading the frame in VirtualDub.

It might be worth 5 mins. exploring those links to see if you want to try another video editor.

If one of the current video editors you've installed has image stabilization you can try it, but DeShaker is one of the better free ones (as of a year ago) that I've used.


How to help the autofocus feature of an amateur camcorder

I reviewed the specifications for the Samsung HMX-Q10 and have to say there is not a whole lot of information e.g., optics has no mention of "Minimum Focus Distance". So we are pretty much in the dark on the near boundary of the depth of field.

(a little rant on auto-focus)

Most auto focus systems have two modes: Single AF and Full-time AF. Single AF translates into setting the focus once, focusing what ever the sensor picks up first usually in the center of the frame (there are other possible areas depending on the camera, but I'm guessing this Samsung is limited to center weighted focus). Single AF keeps the same focus area during the whole shot. Full-time AF changes focus according to what is changing in the frame. This would be good for tracking a sports event or something moving. Unfortunately the Samsung specs don't mention any of this so I am not sure if this camera has two modes, or one, or if one mode, which one Samsung made the default.

Here is how I would approach shooting your bass playing.

1) mount the camera on a tripod so the camera is steady.

2) Likely 1 meter to 2 meters will be far enough away to be in focus. I recommend that you
   experiment with this to see if 1 meter is better than 2 or if 2 is better than 3 meters.

3) light the set with as much light as you can as this will force the auto-exposure to
   'stop-down' the iris as in a smaller aperture, which translates into more depth of
   field.

4) in front of the camera, dead center, put a chair or something where you will be playing,
   (use some gaffers tape to mark this spot off camera on the floor assuming your not
   going to show your feet) this will force the auto-focus to focus on the space you are
   going to be.

5) set the camera zoom to full wide (the wider you set the lens, the greater the depth
   of field).

6) press the record button, walk to your spot toss the chair or prop that was standing in
   for you and start your action. All the stuff that happened before you started playing
   your bass can be cut out in post production.

Alternately you can have a friend stand in for you on your mark before you start the camera, you could even have them give an intro then decide later to keep it or cut it and go direct to the bass playing. Also, you could have an assistant do all this camera work for you while you stay in place to start the show.

Quick review:
1) tripod to steady the camera,
2) lots of light,
3) set zoom to widest angle,
4) have your spot in focus before you start.


How do I get the best parts from a video?

Racingfail did a video on how they cut the best parts of racing from other contributers:

The general idea is the same as you have, but instead of seeing it at 2x, they do it at 16x.

Personally I use Davinci Resolve to skip though the video, with skipping 1 second ahead (shift+right), I see the stuff at ~30x. But any NLE has that functionality so go ahead!

If it's a recording you created, you might want to look at the waveform of the sound, if it's loud it's worth checking out (doesn't work if you have music going at the same time though)


I would try deleting the cache around time in your sequence causing trouble. You can mark an In and Out point, then clear the cache between those to points using "Delete Render Files In to Out" in the Sequence menu.
You don't necessarily have to delete all of the cache (although try that if nothing else works).
These are the steps I would normally take to do what you're doing:

Import an audio file in Premiere and place it in a sequence.
Right click on the clip in the sequence and choose Edit Clip in Adobe Audition
Edit the audio file in adobe
Save in adobe
The updated audio should appear in Premiere after a few seconds

Premiere sometimes needs to convert your file before it sends it over to Audition, so you might be modifying the wrong file in Audition without realising it if you're doing it all manually instead of letting Premiere manage it.


Virtual webcams under MacOS 10.15 or later

Just noticed that 'OBS mac virtualcam' is now working on 10.15 - would be interested to see any alternative versions
https://github.com/johnboiles/obs-mac-virtualcam


How to Overlay Text in Premiere Pro or After Effects?

Premiere Pro have more basic text tools, but it is easier to work with. Also, it is better for long files.

After Effects allows you to manipulate with your text in much more various ways. You can use there more different text effects. But it is also more complicated.

So, it is up to you to decide. If you are looking for something basic, use Premiere. If you want to use some fancy effects, then use After Effects.

For example typewriter effect, which is used in video in your question is one of the standard AE effects. You can also achieve that with Premiere Pro, but you will spend more time on each text.


This is an extremely broad question, but I'll do my best to provide a quick surface overview.  Producing good quality video is HARD.  To put it in perspective, I'm working on an indie level web series right now and I'd guess it takes probably around 10 man hours of work per minute of video.  Making a successful video involves lots of planning and high quality execution, all of which takes time and a variety of different skills.

You start out with writing.  The concept of the show needs to be flushed out.  Improv is an option, but the basic premise still needs to be there and the topics, items to test, etc all need to be determined in a way that gives the foundation for producing content that holds together and is interesting to viewers.

Then you need to begin producing the video.  This involves gathering and organizing the resources you will need to make the video.  You will need products to test, your cast is already selected, but you'll need crew (possibly yourself for now) and equipment that can be used for actual production.

Once everything you need for production is gathered, you have to actually execute the production.  This involves making sure you have good sets, lighting, sound, video, etc.  You need to make sure that the video both looks and sounds good and that there is good content in the raw footage you shoot.

Next, you move in to post production once all the footage is shot.  This is when you work on editing the footage in to the final consumable form.  You have to work out pacing of the content and add any post production elements like titles and graphics and any additional sounds in order to make sure that the final product is interesting to watch.

Finally, you move in to release and marketing.  In this case, you've already decided that you want to release on Youtube, but just putting a video up on Youtube isn't going to get people to watch it quickly.  You need to let people know about the video and raise awareness about it.  This can be as simple as making social media posts about the videos to your various networks or as complicated as actual paid advertising to reach out beyond your direct network.  You might also consider trying to get news coverage of the show for some free marketing if you can get any news sources to pick up the story.

As an added bonus, there is also the luck factor.  Even if you do everything completely wrong, there is a large luck factor in any release, especially on places like Youtube.  Certainly well maintained and high production value channels tend to have the most staying power, but just about any video has the possibility of going viral regardless of almost any other factors if the stars align just right.  Even if you do everything right, there is still no guarantee of success.  It's notoriously hard to tell what people will or won't find interesting and even major large budget projects fall victim to this.  It comes down to how things strike people's fancy and people are fickle.


Are there any Final Cut Pro, Motion or Premiere plug-ins that allow insertion of PowerPoint or Keynote slides?

If your show requires some level of postproduction, then:

1 Record the live video feed of the presenter's slideshow.  Don't just export the slides as a movie from Keynote.  Syncing slides manually will definitely keep you up into the wee hours of the morning, so don't do it.

2 Import the camera feed(s) of the speaker, any extra audio sources, and the slides, group them in a multicam clip, and sync them all together.  Again, for fastest postproduction turnaround, the more automated you can make the sync process, the earlier you get to go home.  Timecode based sync is the fastest, but most expensive.  A hand clap is free, but won't help you sync the slides to the speaker.  You've obviously already figured out how to do that manually, but finding one sync point per hour of footage is way better than doing it for x number of slides.

3 Once you've been through a couple of episodes of your show, and ironed out the kinks in look dev and process, save an extra copy of your project file and strip it of reference to any of the media you imported in step 2.  Leave everything else about this file alone; titles, intros/outros, etc. Use this file as a template for your show.  If your process involves complex file hierarchies, do the same with your file hierarchies: have a "template" project folder which includes your project files, working directories, output directories, stock graphics, etc.

4 Now, each time you do a new show, duplicate the template structure, rename it accordingly, populate it with your fresh content, fill in the blanks, and start over at #1.  As you work through more iterations, tweak the template files to incorporate as much repetition as you can automate.  You might want to pick up a scripting language or two, maybe look into some machine vision algorithms, keep an eye on github. Automate anything that gives you carpel tunnel.  Reschedule every progress bar you see to a time when you won't see it.

But if you don't need to make any kind of postproduction edit, then the answer's simple: Don't.

You've now left the world of digital film production and entered the land of broadcast.  To pursue this avenue, you'll need to be able to mix and switch all of your live a/v, and record or OTT the program.  Your requirements are minimally a $100-ish converter box and a laptop, but again, the more money you can throw at it, the better.  Blackmagic ultra studio mini recorder or whatever Aja's equivalent product is called would get you started.


Sync presentation with video of the speaker

Without having to do anything? No, that's probably impossible. How would the computer know when to switch to the next slide? What you could to is capture a video of the screen of the computer used to show the presentation using some software like fraps and synchronize the screen capture and the camera recording. However, this has two downsides; screen capture software tends to produce very large video files, which could fill up a the hard-drive of a normal laptop really quick. Also, your video quality would be far from perfect.

What I would probably do to minimize working hourse is capture a small (i.e. SD) version of the presentation and use that to insert the slides manually in Premiere (or whatever you're using). If you have the screen capture as an indicator as to when each slide was shown, inserting the original ones in another video track at the right times should be a matter of minutes ...


How to set an image height & width on a video in ffmpeg

You can add a scale filter. This will scale the image to 50x50:

ffmpeg -i in.mkv -i 3.png -filter_complex "[1]scale=50:50[b];[0][b] overlay=25:25:enable='between(t,0,20)'" -pix_fmt yuv420p -c:a copy tout.mkv pause

If you want to scale the width or height and maintain the aspect ratio, use -1. For example, this scales the width to 50 and the height according to the aspect ratio.

scale=50:-1

Conversely, this scales the height to 50 and the width is adjusted by aspect ratio.

scale=-1:50


The basic form will be

ffmpeg -i video.mp4 -i image.png -filter_complex "[1:v]scale=320:-1[top];[top][0:v]vstack" output.mp4

A label of the form 1:v, equivalent to 1:v:0 within filters, is a stream specifier - it means use the first video stream of the 2nd input. 0:v refers to the first video stream of the first input.

The bottom in your command and top in mine are arbitrary labels assigned to the result of the scale filter.

Then that resulting stream is fed first to the vstack so that it gets stacked on top.


How to make the rest of the mask transparent in Premier Pro CS6?

Ok, now that I was able to reproduce your technique thus far, I can fill in the missing pieces.  Your use of the Track Matte Key produces a layer that is transparent everywhere other than where the mask is present.  You need to layer it overtop of the video that you want behind it and you need to apply the dimming effect to the background layer.

In your example, Move video 2 to Video 3 and copy Video 1 to Video 2.  Leave the track matte key on Video 2 and remove it from Video 1.  This will layer the highlighted area (Video 2) over the full video (Video 1).  You can then either reduce the opacity or apply a brightness reduction to Video 1 to make it appear more subdued and get the look you are going for.


How to stitch images from DIY panorama video rig with 3 canon 60d's?

You could try if kolor works for you. It's not free but it's made for your exact needs. Check out the gallery for what they did. Or you can do it manually as Adam explains.


Recommendations for good "bad monitors"?

I'm struggling trying to answer this in a way that would enhance what you've got already. Because really, you've got a pretty good representation of "everyman's speaker" there with the Creative set you have already.

So I'm going to take a different approach here and, instead of recommending something to buy, I'm going to recommend some techniques I use to test my mix to see if it'll work on other systems (I mix on a KRK Rokit setup and my big mains are JBLs driven by a McIntosh amp).

Test on a clock radio. They are almost the ubiquitous music listening device. We all have them in our rooms. There are a few, guaranteed, in every office space. Your mechanic has one in his office. They are everywhere. And they sound pretty much like poo. I have a line in on my little Sony clock radio. I'll bounce a mix, drop it on my iPhone, and try it out on the clock radio via the line in.

Test you mix without the sub. Most people don't have one. So click off the sub on your Creative setup and see how it sounds. Is there still a reasonable representation of the low end happening when it's just a small speaker setup?

Test your mix in mono. Or rather: move away away from the sweet spot. I like to throw a mix on in a loop and then walk out of the room. Wander around the house. Listen to it like most people listen to music: while they're going about they're day and it's background to their lives. Few people spend the time to sit down in the proper spot, between two nice speakers, and really enjoy all that hard work you spent placing each instrument in to it's own space. Sad, but true.

Test your mix in the car. Music and cars are just kind of like pie and ice cream. It needs to sound good in the car.

Test your mix in headphones. If only to avoid the "Sgt. Pepper's Effect" where you've panned things to extremes and when you listen to them in headphones it becomes a bit like having your head pulled apart by the ears. I test headphones last because I find if I tune for them I'll end up with a mix that's too bass heavy on regular speakers.


How do movie makers navigate point-of-view among still characters

You assume that the Matrix technique cannot be used to weave a camera among people. The exact same technique - a combination of multiple cameras, cgi, and interpolation - can do exactly this.

That said, the Flash has much more mature cgi technology than the Matrix, and in fact is famous for the cgi quality. Check out this video for some behind the scenes info. The majority of the intro you mention appears to be cgi.


Is it possible to modify a single precomp instance via scripting?

Scripting can do anything you can do with the UI. This isn't something you can do with the UI, so no, you can't do it with scripting. If you change the colour of precomp1.layer1.simpleRectangleLayer then it changes for all instances of precomp1. That's how precomps work.

You'd have to make a script that would do the same thing you'd have to do with the UI—duplicate precomp1 to make precomp2, change the colour of the layer and replace the source of layer2 to precomp2. I did make a script that does this kinda. It lets you duplicate a layer and make a duplicate of its source so that it can be changed. Available (free, open source) here (caveat: there are some bugs I've never found the time to iron out).


You could try a plugin that does it all in one:
http://www.digieffects.com/product/damage

(edit: removed video example for aged film - was intended to show the powers but could mislead to think it only produced aged film look).

With the plugin you should be able to produce the old video tape look using one or more of these in combination:

Go directly to features (thanks Inan):
http://www.digieffects.com/product/damage#features

  Artifact: Create displaced pixel blocks, color errors, frame dropping
  and video compression artifacts

  Blockade: Control color inaccuracy, block size, speed, and temporal
  frame stuttering

  Destabilize: Create convincing camera shake or earthquake simulations

  Interference: Simulate the CRT look of a security camera or interlaced
  video

  Overexpose: Overexposes images just like your eyes would

  Skew: Create analog noise with reckless abandon


Best H.264 settings for low bit-rate streaming video

If you are going for a lot of motion, make sure you set a higher I frame rate. An I frame is a whole frame that you are going to need with quick motion.

Also, check out this link http://www.adobe.com/devnet/flash/apps/flv_bitrate_calculator.html for some basic settings. That shows you that 150kb/s is way to slow to keep a good picture. For SD material, bitraters of around 500kb/s with fast motion is recommended.


Why would you deliver a video in 1920x964?

I cannot think of a good reason why 1920x964.  It is not uncommon to see 2:1 aspect ratios, which would be 1920x960.  The extra 4 pixels are a mystery, especially because 960 divides by 8 and 16, which make it very JPG friendly.  964 does not divide evenly by 8, either.


How to make black text accept light in After Effects

Adjust Metal to 0% and Specular Shininess to taste in the material options of the text layer.


The end of my video gets cut off every time I finalize

You might want to check the framerate of your video and the one of your composition and match it.

If they don't match the app will try to fill the timeline of the composition with footage that is 'shorter' in terms of frames per seconds.


Fastest way to add a timestamp to a video

Virtualdub will allow you to do this with the Add Frame Numbers filter (not just frame numbers, as implied by the name).


I wouldn't do the second option at all. Subtitles should flow with the text, an comparision sign disturbs the flow.

I personally would prefere to simply rewrite the entire sentence.

Depending on your distribution media, I would make it closed captions, so people can turn off or on the translation.

Maybe, you could consider to translate the entire project, as this could be a less intrusive than switching subtitles on and off.

But I would handle it like most documentarys, when there are other languages involved. Simply translate the sentence.


Equipment for documenting an adventure journey

I hate to burst your bubble, but if you are expecting video to be a similar level of intrusiveness to photography, you are almost certainly mistaken.  Video is a much more work intensive process as it requires constant attention to make sure you are getting smooth usable shots instead of the occasional random thought that "I'd like a photo of this."  It is going to take significantly more work and effort to get usable video footage that is stable and well composed.

That said, the amount of effort required varies greatly on what you are hoping to accomplish.  If a "reality cam" style video shot from a GoPro mounted to your pack or helmet and stabilized in post (will still be jumpy and move a lot) is sufficient, then buy a GoPro, a mount, some extra batteries and go to town.

If you want something that more captures the feel of where you are with documentary like footage to make something that isn't a pure "action shots" montage, you will need considerably more effort to setup tripods, capture proper shots, more planning of the shots, plus the longer time it takes to get the shots.

Audio quality is also something to be mindful of in that situation, as shooting outdoors you are likely to have wind noise and will need to carefully monitor your audio while recording as well and getting decent quality footage might require multiple attempts at the shot.

If you can update your question with a bit more detail as to what you are trying to accomplish, we can probably refine the answer a bit more for your specific situation, but the key thing to know is that it sounds like your expectations of the effort required for a particular type of product may not be grounded in reality at the moment.


What's the difference between Blackmagic Fusion and Resolve?

Firstly - Davinci Resolve (since v15) now includes Fusion as a sub-tool. Additionally some component features of Fusion are embedded within the Resolve interface and conversely some features of Resolve are accessible from within the Fusion tool.

So ... I will try and answer below - as if Resolve did not include any Fusion components:

Resolve has its well established roots in Color Grading, but both applications are ultimately editing and compositing tools which can generate, combine and manipulate source material to create desired visual & audio output. Resolve is targeted at Ease of Use, Media handling, Video Editing, Compositing, Color Grading, Audio Engineering,  Audio/Video Effects and Content Delivery. Whilst Fusion is targeted at advanced 2D & 3D Compositing, Visual effects and Motion Graphics.

Fusion is a more complicated tool and typically is slower to work with, but provides advanced functionality, precision, programming and control in the areas of VFX and MG. There are many end-to-end Audio/Video production scenarios where Fusion would not be required.

Typical Use Cases:

Resolve (minus Fusion):

Producing simple videos from source material
Editing complex video sequences
Color Grading / Color Correction (Simple -> Advanced)
Audio Engineering
Transcoding & Final Delivery
Applying Audio/Video effects to existing footage

Fusion (standalone):

Creating/Applying simple Computer-Generated Imagery (CGI)
Generating/Applying advanced 2D and 3D Video Effects (VFX)
Creating/Applying Motion Graphics (Animated Titles and Wurly Spinny things)

Fortunately - Resolve now includes Fusion - so you get the best of both worlds integrated in one hugely powerful application package.

And yes - you can complete an entire Film 'Movie/Short Film/Video' using just Davinci Resolve and Fusion tools.

** Fusion is also available as a standalone product, but the features & functionality of the standalone product are almost entirely available within Davinci Resolve.


Live desktop feed on green screen: thesis presentation

If you have a Mac, download "Cam Twist." It offers reasonable live keying, and it can even put you as picture in picture.

If you use the right browser, I.e. Firefox with the Google Hangouts plugin necessary for hangouts, "Camtwist" will just be an option in the list of cameras.

Download it here.


How do I increase my exported video quality?

to get the best quality export from FCPX choose the option from the CODEC "Source = ProRes 422" and then see if that gives you any better results.

Alternatively you can choose the option
Format = Computer then export from there


After Effects CS6 not recognizing GTX 1050 Ti GPU

Updating the Optix.dll to Optix.1.dll version 3.9.1 worked.


Although noautorotate stops FFmpeg from rotating the video, it does not remove the rotation tag from the output. So, you have to set the tag manually.

ffmpeg -noautorotate -i $vid .....  -metadata:s:v rotate=0 output.mp4


AviSynth can't open my AVI file: "AVISource: Couldn't locate a decompressor for fourcc dvds"

In case anyone has the same issue in the future, I solved it by installing Cedocida codec: http://www.cithraidt.de/cedocida/index.html#download.

Using DirectShowSource() instead of AviSource() also works.


x265 encoding test: 12bit results a bigger file size than 8bit of the same config?

crf=18 rate-control produces bigger files in 12-bit mode.  If you're trying to find some encode settings that work well for some content, you shouldn't assume that the same CRF at different bit depths is going to be the same.  (Either the same SSIM or the same perceptual visual quality).

You haven't said anything about quality, or quality-per-filesize.  Presumably the bigger files also look a bit better, since 12-bit x265 has about the same quality per bitrate as 8-bit x265.  (I've tested with 10 vs. 8, but not with 12).

CRF is not an exact target-quality setting.  So if you want to compare settings, use 2pass with the same bitrate for both and look at quality.  Use either SSIM or preferably human visual inspection.  (Some people like to pause/zoom, but don't just do that.  Some kinds of artifacts / distortion are noticeable when the video is playing, but many are a lot less noticeable.  Pause/zoom helps when checking your visual impression of "sharpness" / "more detail", so figure out what was giving you that impression, and maybe also other things to look for to see if you can still notice them while playing the video.)

For actual encodes once you find settings that you like, CRF is great, but it's no good for comparing the quality-per-bitrate of different encode settings.

8-bit vs. 10/12-bit

There may still be some gains in compression efficiency for x265, but they're definitely smaller if they exist at all.  10 or 12-bit might even look a tiny bit worse.  See discussion on doom9, linked by Michael in a comment.  I haven't followed the latest discussions, so I'm not sure what the current consensus is on 10-bit x265 for 8-bit video.  Even if there is a small gain, it may not be worth the speed penalty.

It's definitely nowhere near a factor of 12/8 like some commenters are suggesting based on "simple math".  A lossy video codec like h.265 isn't very similar to simple lossless compression like ZIP.

x264 does benefit in general from running in 10-bit mode even when the original source is 8-bit, and so is the final display (but again, you shouldn't expect the same CRF to give the same bitrate or the same quality at different depths).  8-bit h.265 has higher-precision motion vectors than 8-bit h.264, so that part of the reasoning doesn't apply to x265.

Remember that both h.264 and h.265 store the information in the video as quantized frequency-domain coefficients.  With trellis / rdoq, it even tweaks the quantization to compress well with the final entropy-coder (e.g. CABAC in h.264), so the same number of bits can represent the same amount of information, whether the entropy-coder had 8-bit or 12-bit input.  8-bit is in some ways just a speed-hack.

More bits means that you can get closer (smaller error) while still having some error.  So the encoder has more choice when trading off distortion vs. bitrate.  This may be partly why 10-bit x264 suffers less from "banding" artifacts in gradients: it has more choice in representing the DC coefficient, or in having small values in the AC coefficients.

The higher the input bit-depth (for a given output bitrate), the more bits the encoder has to throw away.  A lot of those extra bits are zeros if your original video was 8-bit.  (Lossy encoding already throws away a lot of bits, like from 12 bpp per frame (for YUV 4:2:0 chroma-sub-sampling with 8-bit components) down to 0.15 bits/pixel/frame and still look pretty close to visually transparent, especially at high resolutions where typical video has its information content distributed over more pixels.)

If you're going to rescale, presumably going to 10 or 12-bit before rescaling will let the rescale blend pixels with less loss of information.  (e.g. a 10-bit value can exactly store the average of four 8-bit values.)


Automating QC to find corrupt video files

Since QCTools wraps the ffmpeg/ffprobe and uses the signalstats filter, here is how to achieve what I wanted:

ffprobe -f lavfi movie="Bad.mp4","signalstats=tout" -read_intervals %00:01 -show_frames

-show_frames outputs the frame summary into STDOUT. It contains the value that I need:

  TAG:lavfi.signalstats.TOUT=0

-read_intervals allows me to process only a small part of the file to get signal stats from only a small portion of the file

We can also check how QCTools does it by looking at the source code here:
https://github.com/bavc/qctools/blob/master/Source/GUI/BigDisplay.cpp#L844-L845


Video encoders that display frame with most movement

This feature is called "motion detection" in the video surveillance jargon and can be found on most IP cameras and NVRs. There is a large variety of solutions out there depending on the level of accuracy that you need, the ability to divide the monitored perimeter into zones, whether the analytics run off a live or recorded feed, the OS that you use, and more.

If you look for something free and simple that just feeds you with XMLs then you might check Shotdetect. If you look for more of a "solution" then check motion, note that it is unix-specific.

It is also possible to use ffmpeg to extract thumbnails from your feed and run SNR comparisons on the fly, if you extract only I-Frames then the overhead is minimal. You are bound though to a detection rate that depends on your keyframe rate.

Try to provide some more detail regarding your operating system and overall use case for a more specific answer.


What's special about Apple-device generated HEVC files that (apparently) x265 can't produce?

Well. Turns out that if you read this guide for HLS streams, it gives a bunch of details on how the actual video formats should be set up. In particular, for HEVC, it says:

  1.10. You SHOULD use video formats in which the parameter sets are stored in the > sample descriptions, rather than the samples. (i.e., Use ‘avc1’, ‘hvc1’, or
  ‘dvh1’ rather than ‘avc3’, ‘hev1’, or ‘dvhe’.)

So I thought I could give it a shot.

ffmpeg, by default, uses hev1. So if I take my previous command line and add -tag:v hvc1:

ffmpeg -i hank_vlog_orig_short.mp4 -c:v libx265 -c:a copy -tag:v hvc1 hank_vlog_orig_short_hvec.mp4

Presto, it works.


There isn't a perfect answer to this problem.  AVI and MP4 are just container's for video streams, so without knowing more about the actual streams in the containers, it is impossible to tell how much quality loss there would be, but as a general rule of thumb, it isn't all that atypical for AVI to use far less efficient video compression algorithms than MP4 on average.  That doesn't always hold true, but it often is.

That said, what you plan to do with the files also matters.  If these are a master intended for being a high quality copy you can come back and WATCH, then running a high quality h.264 encoding isn't such a bad thing.  You should likely be able to find a setting that will make the files quite a bit smaller and still be pretty high quality to watch.

The problem with this, however, is that while the compression may work well for watching the video, it doesn't work so well for editing and re-encoding the video later.  If you compress too much, the video will look great to a viewer now, but may look like crap after editing and re-encoding a final video later.  If you plan to edit the videos later, you will need to stick to a much higher file size and higher quality encoding.  This could still be h.264, or any of a number of other formats, but it would need to be a much larger file (such as all I frame h.264).

Personally, I've always elected to keep my masters at their highest available capture resolution and fairly minimally compressed, but I also am in a financial situation where buying large amounts of external storage is not a problem.  (I personally have around 20 TB worth of storage, of which about 14TB is full, though some of that is providing redundancy.  That's primarily for video projects, photo projects and Steam downloads.)

Ultimately, however, it is a personal decision about the trade offs between cost and quality.  Every option has it's costs and only you can decide which costs are best for you.  I'd encourage you to buy more storage if you want to do editing with the videos later, but if you are only worried about playback, I'd recommend encoding it down to a quality that you find high enough by trial and error.  (Also, be sure to check the videos as the level of activity in a video will greatly impact the video quality unless you are using a quality based encoder.)


ffmpeg add audio to video not working in below command

The audio.mp3 is likely shorter. Set duration=first in amix.


how to smoothly increase a video in picture of picture mode

What you're trying to do is easily achieved with after-effects. iMovie really isn't made for motion graphics.
What you want to do is the following:

Create a composition from your footage
Drag the pip video above the main video.
Press "s" while having the pip video selected to bring up the scaling.
Scale the video down and drag it to the position you'd like.
Now press the stopwatch on the scaling (this will create a keyframe).
Go forward in the timeline and enter 100% in the scaling, which will make it full-screen again.
Do steps 5-6 with the position (you can bring it up by pressing "p"), except for entering 100%, you'll right-click the position and choose "reset". This will center the now full-scale pip video perfectly.

Notes: It is important that the first keyframe from scaling and position are on the same frame, and the last  keyframe of position and scaling must also be on the same frame.

If you look at the animation, it might look a bit "linear". To make it smoother, you can select all four keyframes you have created, right-click and choose "easy-ease". This will interpolate your keyframes in a smoother way.


Why to music producers not bother with CD-TEXT

The only answers I could quickly find are that they either don't think about it, don't want to have to deal with clients that supplied incorrect track information, have a duplication house who's software can't support it (apparently there are some errors in one of the major pieces of software used by duplication companies) or think that the CD-TEXT data can result in a slightly slower cue time on the CD.


How can I generate a full waveform from my audio file in After Effects?

It depends what you mean by the full waveform on a single frame.

If you want to view the entire duration of your audio file on screen in a single frame, you can do this, assuming your audio file is shorter than 30 seconds:

Add the audio file to a comp.
Apply the Audio Waveform effect to a solid in a comp.
In the audio waveform effects settings, set the audio layer to your audio track.
Set the Displayed Samples setting to the sample rate of your audio file (eg 44100).
Set the Audio Duration to the duration of your audio file in milliseconds (1000 per second of audio).
Set the Thickness of your waveform to 1, to show more detail.

You should end up with something like this:

Which looks pretty similar to the waveform as seen in Adobe Audition:


What is a good efficient way to isolate clips from long movies?

What format is your long video? The seeking performance problem may not be in Kdenlive but in your movie. If you aren't yet, you should consider using a container format that has index tables.

Now regarding extracting a clip from a movie, I believe you can do that with ffmpeg, specifying a codec named "copy" and setting a start position and a duration (in seconds):

ffmpeg -ss <start-position> -i <source-filename> -vcodec copy -acodec copy -t <duration> <destination-filename>


In the Media View window, select all the clips you want to change.  Right click one of the selected clips and choose "Clip Attributes".  In the Video portion of the Clip Attributes, tell Resolve what you want it to do.


How is this Doom Eternal still-picture-to-stretching motion video produced?

The overall steps are:
I. On a photo editor (Ps, Gimp, Photowhatever)

Duplicate the image several times, One per element of your final composition, for example. Background, player, monster 1, monster 2, ax.

Mask each element, normally with the lasso tool or similar, so you isolate the element on that layer.

For the background, you need to expand it a bit it to erase the element, You probably do not need to erase all the ax, just enough so when you move it you do not reveal the same ax behind the moving one.

Do the same on a monster if you need to delete some other monster part over it.

Export each layer as a single PNG file.

II. On a composition software
You could use Davinci Resolve, Hit Film or Blender which are great programs and free. Try with Davinci Resolve for this one.

Drag them into the timeline. Background on one layer, and monsters on another layer.

On the inspector Add keyframes on the scaling, making a loop.

For more specific information look for tutorials on how to mask, how to export and import files on the program you choose, and about the inspector on Davinci Resolve.
If you are paying Adobe, use Ps to mask and AE to composite. I prefer Davinci because you can see the waveform of the music, and playback in realtime to sync the animation.


How do I author a playable DVD from an MKV file containing MPEG2 video, audio, subtitle and chapter streams?

DVD requires more than just the video and audio data streams.  It also needs all the menu and table of contents data to instruct the player on how to play the stream.  As long as the stream is in an appropriate format, there is no reason that a DVD authoring package should have to re-encode the video.  It just needs to take in the stream and rebuild the menu and table of contents information that is needed to tell the DVD player how to play it.


What kind of hardware do I need for a multi-person editing team?

The first thing is to separate your source assets from your projects.  Source assets are the biggest things and should never change.  They are generally best placed on a NAS RAID array on gigabit Ethernet or better (10G+ fiber links are nice if you can afford them, but not strictly needed).  Each editor can then pull down whatever source files they need locally (or possibly just work off the NAS, though I'd recommend local pull down).

Project files on the other hand could use things like versioning and locking to prevent conflicts from forming.  Project files change frequently since they store the actual editing decisions, but they are also much, much smaller than the static source files.  Personally, I back these up in a portion of the same directory structure on my external, but I don't have to worry about version control since I am not in a multi-user environment.

Any decent editor should be able to reasonably easily deal with wiring up to assets via relative paths and should be able to adjust for moving the project files around provided that similar directory structures are used on each editing system.

I personally organize with a folder per project with a source folder and a project folder and a swap folder in each, though that can be switched around to have a source folder and a projects folder with sub-folders for each project within it if you prefer that organization.

I know there are also more dedicated asset management systems out there, but I have never had need of playing with them beyond some light work with Adobe Vue which I don't think is still actively maintained and wasn't really designed for handling video as I understand it.


After Effects: Parent a Camera's position to a Null-Object with specific Off-Set

To drive an animation by another layer use the pick whip or the selection list to parent it. In the following example the Camera (layer) adopts all animation properties of the Null.

Note: Camera is a 3d layer in your case, make sure 3d layer toggle is enabled for the Null too.


What is the best way to convert .vob files copied directly from a DVD into a format usable by Premiere Pro?

Using ffmpeg, cat and remux all the VOBs together to a MPEG program stream.

ffmpeg -i "concat:vts01_1.vob|vts01_2.vob|vts01_3.vob" -c copy -f dvd dvd.mpg

(You may have to escape the | character i.e. vts01_1.vob\|vts01_2.vob\|vts01_3.vob)


Rendered mp3 file is much larger than original

The settings say Stereo. The doubling of file size might indicate that the original file was mono.


How to combine different projects to create final clip in After Effects?

First, you don't want to render the clips prior to final output if you want maximum quality.  You instead want to use nested compositions.  Really, final assembly is ideally done using an actual non-linear editor, such as Premiere, however you can accomplish the same thing by putting together a composition and using each of the compositions you have made as assets.  Then, when you output the final render, it will render what it needs from each of the nested compositions and keep the highest possible quality.

Note that you should use nested compositions regardless of if you use Premiere or After Effects.  Premiere will import compositions directly from After Effects if you import the After Effects project in Premiere.  You may also have to apply scaling in order to get the clips to match resolution.


Which video editing software is best compatible with RTL languages?

If you can use images of the text, just about any program will handle it fine.  I would expect that any professional level product such as Premiere Pro should also handle it fine.  Even in software that doesn't support it, you can often fake it by entering the text and then doing the reveal backwards starting from the end of the line.


Open your Projects Explorer Panel and Properties Panel
Click on the Project that you are working on
Make sure that the Audio settings for the project is set to Mono or Stero

I have been struggling with this for a day now and just stumbled across my own mistake. When I initially started the project I set the sound to "No Audio." I did not want the sound in the videos that I was merging.

VSDC gives you independent control over video audio in each of the property windows of the specific video. The Project audio settings is a global sound control. Of course, if you set it to No Audio that's exactly what you get.


how to convert a video to black and white color without any shades

I'm only familiar with Vegas Pro, but I think many NLEs will do the same.

Begin by applying the desaturate effect or the 100% black and white effect. Then engage the Brightness and contrast effect, adjust the contrast until you have only black and white, you may need to toy with the brightness as well but not much.


Audition has specialized tools that allow you to isolate and remove noise. Have you looked at the official documentation? (Especially the capture noise print/remove noise combo)

https://helpx.adobe.com/audition/how-to/remove-noise-audio-files.html


For that specific example, any editing package would do - either an image stitching program or as Weylin said, more likely a video editing tool.

All that they have done there is have a background layer which is fixed throughout, then 5 layers containing the sign, his chin, his mouth, his tie and the ticker.

Each of these layers is manually edited to move the item, then the frames are stitched together to form a gif.

There are ways to automate all the movements along animation tracks, but for a simple gif like this that would probably be overkill.


Is it better to have a player application stretch the video or to use a resolution that matches the video file?

That's really a loaded question.  In general, the rest of your content is going to look better if you leave the computer at native resolution and let the computer scale the video.  If for example you have a video that is a slightly different size, then you would end up scaling to get the resolution setting and again to get the native resolution of the display.  The TV should be able to take into account more information about the exact display too, so I'd leave the computer at native resolution and let software scale it.


Mp4 Video Container and the Codecs use with it

The Wikipedia article on MPEG-4 is a great start as the MP4 file specification is part of the MPEG-4 spec.  Specifically version 2 of MP4 is MPEG-4 Part 14. While not free, you can purchase copies of the ISO spec under ISO# 14496-14:2003.  A preview with some detail is available from the ISO here.

It is designed to contain any of the various MPEG video formats, including MPEG, MPEG-2, MPEG-4 Part 2 (generic MPEG-4) and, probably most commonly, MPEG-4 part 10 (H.264).  It can theoretically support almost any format of video stream, however those 4 are the most widely supported for the file type.

The full list of officially registered codec types is available from the MP4 Registration Authority here.


Poor and low quality on import/render Adobe Premiere

When exporting from Premiere there is a checkbox that says "match sequence settings" which will use the same format as your source video.

The "best quality" checkbox is Premiere does not refer to the codec, but to the internal scaling algorithms.


Store video files on USB, SD card, microSD, or external hard drive?

Generally, it’s a bad idea to store data on SD or micro SD cards for any substantial period of time. If you’re a hobbyist, traveling, and plan to transfer to a hard drive when you get home, that’s fine.  But if you’re a traveling media specialist, you want to get your data off of SD/micro SD as soon as possible, for a number of reasons;

Those cards are easily corrupted, because they have very little shielding against electromagnetic or static discharge, and don’t have built in error correction circuitry. They are absolutely higher risk than USB hard drives.
They are easy to lose, because they’re small.
They break.  The plastic wears down over time, especially after several hundred insert cycles. The thin strips of plastic that separate the contact “teeth” of SD cards are especially fragile, and when they break off, they can damage your camera.
They’re made and priced to cycle data. It’s more economical to store long-term data on media designed for that purpose. If you bought a new SD card every time it was full of photos, you’d be throwing money away.
They’re not designed for random access.  They’re designed to write data quickly and sequentially, but reading it quickly isn’t a priority,  and constant random read/writes would not only be very slow, but would also shorten the card’s lifespan.

What you should use instead depends on how you intend to use it; how long you intend to keep the data, how often you plan to read the data, how quickly you need to read the data, and how much money you’re willing to spend.
No, portable hard drives aren’t as reliable as desktop ones, but they are more... portable.  Portable SSDs are faster and more reliable than spinning metal, but they’re more expensive and have lower capacity.  If you really want to protect your data while traveling, you can get portable 2-drive RAIDs, with either SSDs or HDDs, but they’ll be at least double the price of their single-disk counterparts.  If you’re a DIT working on a major motion picture, you might possibly lose your job for not using an actual RAID.  If you’re a digital finisher, you probably have all of the above, plus maybe LTO.  Yes, tapes are still the most economical way to store data long-term, and they have a lifespan of around 30 years.


That does sound like a tricky issue. Have you tried opening the GIF in PhotoShop using video to layers (file > import > video to layers)? If so, did the timing appear accurate? What are you ultimately trying to do with the GIF?

http://helpx.adobe.com/photoshop/using/editing-video-animation-layers-photoshop.html


There is no switch to set a file size in percentage but there is the -fs switch.
This switch can bet set to let ffmpeg try to get to a specific target file size set in bytes (for example -fs 52428800 to get to 50MB).
You can write a script that takes the original file size and calculates your new desired file size depending on your specified percentage value and passes that calculated value to the -fs switch.
The resulting file wont be exactly at that file size though, ffmpeg will try its best but depending on the source file and your desired file size it wont be possible to reach that file size.

Even with the worst possible bit rate you can't produce a 20byte sized 720p mkv with 1 hour runtime. You get the idea, there will always be a certain error margin with the resulting file size.

If you simply want to reduce the file size by a good portion I recommend just using presets. Generally using the normal preset for x264 will give you a lot smaller video with no or very little quality reduction.
Remuxed or encoded Blu-rays or camera recordings usually have a crazy bitrate which results in these huge file sizes.

In your case if you are not interested in 5.1 sound you could also convert the 5.1 DTS sound into stero AAC or MP3 sound which will reduce the file size quite a bit aswell without hearable quality loss (for most human beings) in the sound.


How much time to calculate for legal advice on a feature film based in Switzerland

The service you are looking for is Consulting. The best thing to do is to e-mail this question to the public institutions or organizations of Switzerland that promote film Industry, if you are shooting there.
Or any other country that is your homeland.
You can start from here:
https://www.mediadesk.ch/
https://www.swissfilms.ch/


Many things play a part in the time required for a render. The most significant are:

Your Hardware (Ram, CPU and GPU are the most important parts)
The resolution of your composition
The Framerate of your composition
The Effects used and how "expensive" they are on the hardware
The Codec and Container you're using (like prores422 in .mov or h264 in .mp4)

First off, check how much RAM is dedicated to After-Effects in its preferences. You should at least dedicate half your RAM to AE. If it's less than 8GB, you might want to consider getting more RAM. Also, check if you have hardware acceleration enabled. It's usually called "CUDA" for Nvidia graphics cards and could increase the speed of your rendering.
Next, check your resolution. Audio-Spectrum videos should be alright in 1080p, so don't render in 4k or 6k.
A 3 Hour video does require a rendertime of about 16 hours though, when you use an expensive effect such as an audio spectrum. If you really wanna cut down the time, you'd need a render-farm, I assume...


Is it normal that using OBS with the Skype NDI integration is unusable on mid-2015 Macbook Pro?

I'm assuming Skype is decoding and re-encoding the video stream at that point.  If so, then yes, that's probably entirely normal.  You have two MPEG encoders running at the same time.  My 2017 MBP (i7) struggles to do that with Zoom.


We used RTSP and it works fine.  There are a few benefits of NDI (like doing PTZ controls over that protocol) but not worth the price jump for the cameras, in my opinion ($600 to upgrade each camera to NDI).
We do notice a ~200 ms delay in the video reaching the mixing PC behind the audio so we just use Vmix to delay the sound and match them up.


Advantage of converting GoPro video files with GoPro CineForm?

The GoPro CineForm Studio Manual sums up the advantage as being primarily one of unpacking the compressed and native MP4 file that the device records to. It also introduces metadata, allowing the user to adjust elements of the video such as the contrast or scaling. As these are metadata elements, you can continue to adjust these on the fly, while the media is being edited in your video editor.

Read the guide here.

I'm not sure if this will replace the conforming process I use importing media into Final Cut Pro X, but it's a great addition to the workflow as I look more into open source editing tools.


Are "mp2v" and "mpgv" valid MPEG-2 codec tags in an MOV?

MPEG-2 doesn't seem to be an officially sanctioned codec for the Quicktime container. The official specification has a section related to MPEG-1 in MOV but not MPEG-2. The US Library of Congress also does not have an entry for the subtype MPEG-2 in MOV, like it does for MPEG-1 (just called QTV_MPEG).

So, there's no official word on "allowable alternative tags". One can only examine MPEG-2 MOVs and see whether apps, specifically, Apple apps, play them or not and prepare a survey report. Since each app has its own fiat on whether it plays a file with a certain codec ID or not, that report whould be categorized by app i.e. VLC, Quicktime player. FCP..etc.

As an example, VLC recognizes the following tags for generic MPEG-2 i.e. not IMX or XDCAM:

    A("mpeg"),
    A("mp2v"),
    A("MPEG"),
    A("mpg2"),
    A("MPG2"),
    A("H262"),


Small sensor means two things: increased depth of field (everything is in focus, no soft backgrounds) and more noise in low-light conditions. If either of these are a deal-breaker then consider changing. Here's why maybe you shouldn't:

To get a large sensor camera with the ease of use and ergonomics of this camera you'll be looking at cameras like the Sony FS7 which with lenses is going to be around the $8k mark, maybe close to $10K all up.

Otherwise if you do go down the DSLR route you'll find that simply getting a GH4 probably won't be enough for broadcast work. You'll also need a good on-camera monitor because the built in monitors are way too low res to be able to judge focus critically, probably an external sound recorder, maybe also an external video recorder if you want to record raw or proRes, maybe a follow focus handle, maybe a matte box, and—since you'll have all these extra bits to carry—a rig to put it all on. At this point it will weigh about as much as a family sized refrigerator and look like something from Mad Max. I know, because I've lived it.

You won't have motor zoom, and unless you get a cinema lens (eyewateringly expensive) you'll have to put up with stills lenses: no manual iris control on the lens, focus measurements are very approximate and usually go something like 1ft, 2 ft, infinity, and there's no parfocal zooming—meaning that focus changes as you zoom.

The shorter depth of field also means that you have to really stay on top of your focus. When I first started shooting with DSLRs (5DII) I was going gung-ho with wide open lenses, and discovering that when I looked at the footage in the edit suite that if the subject moved at all they'd go completely soft. It wasn't until I got an external monitor that I could reliably get useable footage from the thing. For documentary shooting, although you can get beautiful results when conditions are right, it really isn't the right camera for run-'n-gun.

If beautiful bokeh is worth it to you, then go DSLR, but if getting the shot is more important then go with something with good ergonomics, that is first and foremost built as a video camera.


Any tips for compositing liquid materials over live action footage backgrounds - C4D & After Effects

Capture a spherical high-dynamic range image on set from the location where the liquid will appear.  You can use either a mirror ball, 360º camera, or stitch together a panorama from multiple images.  Then, use the image in the luminance channel of a material, drop the material on a sky object, and place the sky object in your Cinema scene.  You'll probably want to make use of the "compositing" tag on your scene elements to help control what appears in your render passes (which is where you'll find the object buffer).  You can set up global illumination to cast light from the sky object if you want, but if all you're looking for is transparency, refraction, and reflection, you don't need to.

You can experiment with the HDRi textures already included with C4D, and practice compositing the rendered image before you go to all the trouble of setting up an actual light probe.  Just search for "HDR" in the content browser and pick something similar to your scene.  Often, you can get away with using these built-in ones.

You'll also want to experiment with the render settings to get something usable in your compositing app.  At minimum, you're going to need an alpha channel of some sort, you can use an object buffer to isolate where your liquid is, but you'll also need transparency, diffuse, specular, reflections, and more, depending on how you go about compositing the image.  Much of the specifics will depend on the input image, the liquid you're trying to simulate, your compositing software, and the desired end result.  Experiment, watch internet tutorials, and ask experts for specific advice whenever you get stuck.  Good luck!


Ok, here is answer.
Quote:

  Please clear the Media Cache (keeping Premiere Pro closed). Find
  instructions here: FAQ: How to clean media cache files?

  Navigate to the Media Cache location as specified in the Premiere Pro
  preferences and rename the folders.

   MAC: Premiere Pro menu>Preferences>Media
   Windows: Edit Menu>Preferences>Media

  Please reply if your issue gets resolved after trying these steps.

  NOTE: Premiere Pro will conform all files after opening any/all
  project(s) and will generate the peak file for the audio. This might
  take long depending upon the number of Media used in the project(s).


Recording a gaming console onto my computer from my TV

You will need a USB Video Capture Device to connect the game to your laptop.

In order to also be able to view the game on the TV, you will need 2 splitters for the video and audio and an extra composite cable.

You would run the yellow and white game console outputs to the splitters and attach the splitters directly to the Video Capture device.  The red cable goes into the Video Capture device directly.  Connect the yellow and white connectors of the extra cable between the splitters and the TV.

I'm not sure how much the video and sound quality will be affected by splitting the signal, so you may need to buy a better splitter to get it to work without any loss.


Best render options for custom size movie in after effects

Are you using the inbuilt After Effects render queue? It's a bit easier to use custom settings when you use the Adobe Media Encoder instead. AME comes with After Effects and is installed automatically when you install AE. Simply open the composition you want to export in After Effects and select Composition → Add to Adobe Media Encoder Queue. This will open AME and add the current state of your composition to the render queue (this might take some time). Once you see the item in the render queue, press the highlighted format designation to open the Export Settings dialogue.

In the Export Settings, you can change the format (codec/container) as well as the other export parameters. Make sure to set the dimensions (Width/Height) to whatever you need them to be. To bring down the size, the most important option is the bitrate setting (Target / Maximum Bitrate for H.264).

Read this for an explanation of bitrate and it's relation to the resolution of your video and this for the math you need to figure out the appopriate bitrate dependent of your desired output size. Since you mentioned you need the video for your website, you might also be interested in my post here regarding recommended encoding settings for web video.


Adobe Premiere Pro CC - Crop a video and export at the exact cropped size

I found that using Adobe Media Encoder is much easier when just cropping.
Add the video to the queue and open the export settings.
On the source tab you can crop the video and there you can also enter how many pixels to remove at each side.
Remember to set the correct output size in the video tab on the right side.

Here is a screenshot showing how i did it:


Help with composition of a movie shot - direction of character's eyes

Shot 1 makes the most sense. In shot 1, your camera doesn't "cross the line" between the two characters. (That's an important cinematography rule; audiences unconsciously expect it.) Here's the easy way to apply this rule to a scene with 2 characters:

The character on the left of the frame in the wide shot should always be looking towards the right of the frame, and should keep looking towards the right of the frame in close ups and over-the-shoulder shots. (The opposite applies to the other character.)

Your character in red starts out on the left of the frame, and is facing the right of the frame (even though we see the back of his head). He needs to keep looking towards the right of the frame in subsequent shots in that scene. Shot 1 shows him looking towards the right of the frame, so that's the shot to use. :)


Unknown coaxial cable female end. smaller than RCA or BNC. White rim

That's a barrel connector, as you say most often used for DC power connections. I doubt that it has an ideal impedance profile for 75 ohm video connections, but that probably doesn't matter in your case.

Get the inner and outer dimensions using a micrometer, match it to one of the standard sizes like type N etc, and you can easily build your own adaptor. I don't think you're going to find anything off the shelf since the use is proprietary / non-standard.


Simple software program for converting H264 video in to flashvideo flv for website?

Use Mpeg Streamclip, its an industry used conversion software that is reliable and fast, and free


H.265(libx265) codec for 8K videos, using same compress settings, why yuv444 10-bit is saving bitrates than yuv420 8-bit?

From Why does 10-bit save bandwidth (even when content is 8-bit)?

  When encoding with the 10-bit tool, the compression process is
  performed with at least 10-bit accuracy compared to only 8-bit
  otherwise. So there is less truncation errors, especially in the
  motion compensation  stage, increasing the efficiency of compression
  tools. As a consequence, there is less need to quantize to achieve a
  given bit-rate.

  The net result is a better quality for the same bit-rate or conversely
  less bit-rate for the same quality: between 5% and 20% on typical
  sources.

See the link for additional info.


Premiere mangles export of video with several settings

Instead of exporting in Premiere, I chose Queue in the Export dialog for Adobe Media Encoder to do the work. It worked perfectly fine, either with medium or high bitrate, with hardware or software encoding.
This issue may be due to new software running on old hardware. My computer has 8 GB of RAM. Although Premiere 2019-2020 has that amount as the minimum and so it should work, Adobe Support has excused itself of another bug blaming the lack of the recommended RAM.


You cannot expand the Transform Line in the Timeline. You can finetune your Position keyframes separately in the Viewer.

Create keyframes and navigate between them with the keyframe buttons in the top-left corner of the Viewer.

Position keyframes

Click the Transform button in the lower-left corner of the Viewer (Shift-T).

The yellow handles in the middle of your clip are your position keyframes. Control-click on one of them.

Choose Smooth in the popup, you will see two smaller red dots, they are the bezier handles!

You can change direction and speed by moving the bezier handles.

change the length of the handle that points to the other keyframe
short means fast, long means slow
set your start speed in the first keyframe, and your end speed in the last keyframe.
if you make them both short, you will start gradually, speed up in the middle and slow down before stopping. use it for a smooth motion
if you make them both long, you will start promptly, slow down in the middle and stop abruptly. Use this effect to imitate gravity (bouncing)

Rotation and Scale keyframes

These can also be set separately but they are not visible on the Position line in the viewer as yellow dots.
In the middle of your clip is the blue Rotation handle.
On the corners and borders are the eight blue handles for Scaling.
Scale and Rotation keyframes don't have a smooth option in FCPX. It might be possible to do that in Motion.


Find Position in a Film/Video by a Frame

Try the command:

ffmpeg -i in.mp4 -loop 1 -i croppedframe.jpg -an -filter_complex "[0]crop=w:h:x:y[a];[1][a]blend=difference,blackframe=90:32" -f null -

This will match a movie frame if at least 90% of the pixels have a difference in value of less than 32 with the image. Any such matching frames will have their timestamps shown


Recording in log gives you a higher range to play with in post, so if your phone supports it, you should do it. If the phone is locked down for specific shots, you can try to film one pass of the shot with low brightness, crushing some dark areas, a normal pass, and a bright pass, overexposing the highlights a bit. If you now stitch those passes together, you should be able to see an improvement in Dynamic Range.


Are there any Windows video players that don't stutter when looping?

As mentioned, if all players stutter for you then the issue probably isn't the players.
Check the clip to see if the last GOP is 'ragged'. Looping works best when the clip ends cleanly, that is, exactly at the end of a GOP.
ETA:
Many modern codecs are very good at minimizing file size and bandwidth, but one of the things they assume is that the material will be played straight ahead. A clip as short as yours may in fact have only one I-frame (complete frame), at the beginning.
Try encoding in an all-I-frame codec like MJPEG and see if you have better luck.


Should color grading be performed on raw clips, or final sequence?

Grading multiple clips in Premiere is still a bit fiddly compared to something like DaVinci Resolve. If it was only three clips, I would do the grade on one clip, then copy and paste the Lumetri settings onto the other two.
The other option is to use Master Clips in Premiere, where you can apply the correction to the source clips, and then it doesn't matter how many times you chop them up in the edit - they will still have the same correction applied.
The third option is to do use an Adjustment layer over the clips. So you only have to make one Lumetri setting, and apply it to the adjustment layer, then put the layer above all of your clips.


It is better to have more B-frames or more P-frame for video streaming?

"Q: Is it better to have more B-frames or more P-frame for video streaming?".

From: https://en.wikipedia.org/wiki/Video_compression_picture_types

The three major picture types used in the different video algorithms are I, P and B. They are different in the following characteristics:
I‑frames are the least compressible but don't require other video frames to decode.
P‑frames can use data from previous frames to decompress and are more compressible than I‑frames.
B‑frames can use both previous and forward frames for data reference to get the highest amount of data compression.

So for the sake of better compression and equal quality: B Frames are better.
In your case better means that your TV better be able to decode and properly play your videos after spending hours/days transcoding them.
So try one video using B-Frames, if there are glitches or you can't rewind properly use P-Frames. Be careful using a large number of B-Frames as that will use more Buffer.
The "CPU time" you refer to applies on your computer, for the TV's Hardware decoding ASIC it shouldn't be a problem. As for Memory the reverse is true, your computer will have enough memory for many B-Frames but your TV might only have enough memory for a few.
Blu-Ray uses 3 B-Frames so your TV ought to accept that many.


What is the technical advantage of celluloid film over digital?

Film may have better long-term archival stability.
For theatrical exhibition, 35mm film still has a more uniform distribution and exhibition system outside the US and Europe.
People like Chris Nolan prefer to use film because there aren't any widely-available digital processess that can do an IMAX-style presentation, with a huge negative area and screen.  Digital solutions for these exist, but the exhibition systems for these are ad hoc; IMAX on the other hand is a really well-established brand and IMAX screens are everywhere and are a reliable, known quantity.
Digital cinema cameras still have some funny motion artifacts (ahem, Alexa and Panavision) and funny black levels (ahem, RED) that some filmmakers don't like.
Film still has a different look.
Once you're at the highest levels of production, and making studio features, the price difference is really a wash, particularly if you're shooting 3-perf 35mm and doing a DI.


Is there any software for data management?

While it doesn't cover all your criteria, I use a program called Total Commander for most of my file management needs and it works well for working with a very large number of files and huge file sizes.

Among it's features, it is able to do a directory synchronization that determines the differences between to folders, either by filesize/date or by content (though a content comparison across a network share is going to take a very long time).

It doesn't have the queue or resume functionality you want, but it handles duplicates well and is pretty easy to work with overall.

It does include a pause feature on the copies and lets you run multiple copies at the same time in the background.

It does include a variety of powerful file selection tools to let you choose particular sets of files that need to be copied.

It has a good UI and is relatively cheap.  It is available as shareware to try for free and last I knew it was $35 for a lifetime license.  My dad bought a copy when Windows 3.0 was still the current OS and hasn't paid again since.  I got my license in 2002 or so.


Creating a split screen video of a multitrack recording

WAX is an freeware video editing program.

You can create a split screen effect with either a source image or AVI video file. Import then source files into the MediaPool (Project -> Insert Tracks) then position them on seperete layers on the timeline.

From the MediaPool change to the Plugin Presets tab and drag the desired split screen effects over the video/image you wish to apply.

[Full Size]

[Full Size]

I've shown an example above, in the second screenshot you can see I played with some of the settings to adjust the width of the split screen. You can also change the size and position of the video.


I am not an experienced colorist but I believe I can provide you with some answers. At least from an indie filmmaker's point of view.

Wait until you have the final cut (or lock-off cut) before you grade. Grading usually happens at the same time as the sound design as both require a locked-off cut. It is best to wait until this stage so that you don't have to go back and grade new shots if the director decides he/she wants to make a change.
Correct individual clips on the timeline. You said you grade in Premiere using a plugin. That's cool. But there are other options. I always went from Final Cut to Apple Color but have recently discovered DaVinci Resolve. The Lite version is free. Here is a bit of info on it.
Grading clip by clip is the best way to go because you can see what the clip before looked like and so you know what the next one needs to look like, i.e. it's easier to reference.
You don't want to color grade the original video incase you decide you want to change something later. I believe doing something like that is called destructive editing. You want to keep it raw so that you can always come back to it.
In my experience, no, it happens at the same time.
Not too sure about this one. Avid Media Composer has pretty good color grading capabilities, I never use the auto correct on it, but it's there if you need it. Check out this tutorial on grading in Avid. Other editing programs may have similar features, but I personally don't use them. And if you're editing a film, I don't see why you would want to.
Yes there are things you can do to help with grading in post. That color chart you linked to wouldn't really help you. I think that's more for when people shoot on film. They shoot 10 seconds or so of color chart on every new reel of film to make sure that the people who are processing their film are consistent. So, they have the same color chart and the same film. Provided they shoot it with the same lighting and exposure, the color charts should all look exactly the same when they come back from processing and telecine. If they don't the film processing company can get into trouble.
During production you pretty much want to make sure you get the flattest image possible and correct exposure. If you under or overexpose a part of the scene, there is no detail recorded and there is no way to get it back. If you shoot on Canon DSLR there is a great (free) picture profile which helps to obtain a flat image optimized for color grading. It's called CineStyle by Technicolor. Otherwise you can shoot with the neutral picture profile with the contrast turned all the way down.
I only have experience with Canon DSLRs so if you are using something else you would need to do some research on how to achieve a flat image.


Why can't modern video cameras be used for live streaming without a capture card?

I am not 100% sure but I think that there is a need for a minimal system managing the Internet Protocol in order to enable streaming. So it means there would be a need for a CPU, an OS, and a interface to setup all the related settings to the camera too.

I think the computing power needed for video compression would be possible thanks to a recent processor like the one embedded in smartphone. And of course the rate is no longer a problem for new connections. USB-C would even be able to stream raw video 4K 60fps = 12Gbps. Which is fine for be DisplayPort 1.2a available on USB-C


Why does VLC player convert a 4-minute mp4 to a 4-hour webm?

Yes, it seems to be a problem of generated timecode. See https://trac.videolan.org/vlc/ticket/12713#no1

Switch to ffmpeg (with a GUI like Avanti) to avoid this issue. My answer to an earlier webm question may guide you on settings.


You'd probably want to download them, and process the audio, so that you could search faster than realtime.  Doing that without a paid, premium subscription might violate YouTube's Terms of Service, and it might even violate the TOS WITH a premium subscription, so be sure you study those carefully, first.
If you can manage to download them, you might be able to use fast Fourier analysis to fingerprint the sound, and then search the files for it.  You don't necessarily need to know all of the details about the signal processing, as long as you can find a tool that'll help you do it.  I'd recommend having a look at this article as a starting point, and searching online code repositories like GitHub for something that suits your level of engagement and code familiarity.  Even if you don't have any experience coding, you can sometimes find links to helpful google colabs or jupyter notebooks installations.  Here's one I found one earlier today for music segmentation, that will analyze music from YouTube links and spit out Midi keyboard parts, just by clicking through the colab.
If you aren't able to download the files, you could still theoretically use software to analyze the stream of audio coming through your speakers, worst case, but you'll still need to find suitable tools to fingerprint it, and I'm less confident that you'd be able to find an off-the-shelf solution which works that way.


Video style where multiple videos play as one video


If you're running on Nvidia graphics card, you need non-free nvidia drivers (not noveau drivers), e.g.:
sudo apt install nvidia-driver-450

Reboot system and check dkms
$ sudo dkms status
nvidia, 450.80.02, 5.4.0-51-generic, x86_64: installed


Can you measure the width of a character in an AE expression?

So you want the width of the whole text object no single characters?
In that case you could use this: http://motionboutique.com/text-bounds-expresssion-580/
A tutorial plus sample project on how to get the bounding box of a text layer.

In case the link dies, here is the complete expression they use to determine the bounding box.

step = 1.0; // higher values speed things up (2 means two times faster) but reduce precision
L = thisComp.layer("MyTextLayer"); // text layer whose size must be evaluated

w = thisComp.width;
h = thisComp.height;
halfW = w / 2;
halfH = h / 2;
halfStep = step / 2;

left = w;
right = 0;
top = h;
bottom = 0;

// find left
found = false;
for (x = 0; !found && x < w; x+=step)
{
    if (L.sampleImage([x,halfH], [halfStep,halfH], true)[3] > 0)
    {
        found = true;
        if (x < left)
            left = x;
    }
}
// find right
found = false;
for (x = w; !found && x >= 0; x-=step)
{
    if (L.sampleImage([x,halfH], [halfStep,halfH], true)[3] > 0)
    {
        found = true;
        if (x > right)
            right = x;
    }
}
// find top
found = false;
for (y = 0; !found && y < h; y+=step)
{
    if (L.sampleImage([halfW,y], [halfW,halfStep], true)[3] > 0)
    {
        found = true;
        if (y < top)
            top = y;
    }
}
// find bottom
found = false;
for (y = h; !found && y >= 0; y-=step)
{
    if (L.sampleImage([halfW,y], [halfW,halfStep], true)[3] > 0)
    {
        found = true;
        if (y > bottom)
            bottom = y;
    }
}

/*"Size of text\n" + (right-left) + "x" + (bottom-top)*/
left + "," + top + "," + (right-left) + "," + (bottom-top)


Is there any difference between changing video containers with ffmpeg vs just renaming with windows?

No, a Windows (or Mac or Linux) file rename will not change the container. They are inherently different file formats. They store data differently. They reference the audio and video tracks differently. Re-wrapping from one container to another can actually be a fairly complex operation depending on how the two formats store essence tracks. It may seem like ffmpeg isn't doing any "real work" compared to a transcode, but that is because the video doesn't have to be decoded in a re-wrap. The compressed bits only need to be re-written in a new order with some new metadata.

Think about it this way: just renaming a Word document from .docx to .xlsx doesn't make it an Excel workbook. Your story doesn't get turned into a spreadsheet just because you changed the extension. You need to a use a program to convert every tab into a cell.

The only exception where a simple rename works is where the extensions are synonyms of each other. For example, if you have a program that is expecting all QuickTime wrapped files to be .qt, but you have a .mov, you can rename the file to get it to work. But that is only because they are two different extensions that identify the same container format.


Imported video is extremely choppy in Premiere Pro CC 2019

Try setting the playback resolution to a lower setting. Depending on your periphery and the footage you're handling, it is quite normal for premiere to lag behind the realtime playback. Solutions for fluent playback might be:

Lowering the playback resolution (1/2, 1/4 or 1/16)
Using Proxies (smaller files, usually half the resolution. A quick google search tells you how to do that.)
Giving Premiere more RAM to play with and cleaning your cache.

-> You might need to go to edit -> purge and select purge all. Cached frames are frames that sit on a harddrive on your pc, so they don't have to be calculated every time they're played. Other then caching on the harddrive, premiere also caches into the RAM (random access memory) which acts like a very fast harddrive (although much smaller). Depending on how much RAM you can afford to assign to premiere (usually half as much as your total ram, preferably more than 8GB) you should up the amount dedicated to premiere. This setting sit in the memory section of the settings.


Better transition animations in premiere

Red Giant Universe has the support you need.

Part of the video transitions included with Universe that might be useful to you:

Swish Pan/Slide: can create a nice slide with motion blur support and easing
Fade In: creates sort of a zoom effect with motion blur support and
easing.

Also has other transitions like Zoom Blur, Fold .etc. all with motion  blur support and easing.

If you are looking for some free presets I'm not sure about slide or wipe. But Chung Dha has some nice presets. They are keyframe based in Premiere, but you can modify them (but its not as drag and drop as Universe).

You can check them out here: http://www.chungdha.nl/?cat=129

Specifically the last two, namely, Smooth Transition Presets and Motion blur with transform effects.

He also has a tutorials on usability in each transition page.


How can I sync audio in Premiere with a comp in After Effects?

Go to the in and out points of the clip and add edits (ctrl / ⌘k) to the audio track, so that the section of audio underneath the image clip you want to replace is separate (don't worry you can rejoin it later).

Now select this audio and the image clip and replace with an After Effects comp (using the right-click menu and choosing Replace with after Effects composition). The new AE comp will have the selected video and audio clips in it, so you can synch up.

If you don't want your audio to be chopped up, just alt-click the audio that comes from the AE comp and delete it, then stretch the ends of the original audio clip to cover the gap, select the match-cut edit and hit delete and the added edit will disappear.


ffmpeg - map a video to a placeholder? (rectangle/square)

You would use the template below,

ffmpeg -i base.mp4 -i overlay.mp4 -filter_complex "[1]scale=WxH[o];[0][o]overlay=x:y" out.mp4

So, the overlay video is scaled and then placed at (x,y) measured from top-left of base video and the opposite corner is at (x+W, y+H)


Simply copy the two animated masks to the 4th footage file and set them to "Intersect" instead of "Add". Then they will only reveal the footage that they are applied to when they intersect with another mask. Then put this footage files layer ontop of the others.

Here a screenshot as a reference.


Filming a football game from inside the goal. Which camera is best?

There are many variables here, depending on cost, what type of shot you want etc., but I would suggest you look at something like the GoPro HD Hero 2 because it is:

relatively cheap
takes HD video
has a range of wide to standard angle FOV
is waterproof
has useful mounting brackets
and is incredibly robust


Minimum equipment for shooting an event in a dimly lit environment

A tough one. Certainly might be worth wording the client up that it's going to be dark. I'd try and do a test if possible to see exactly how dark it's going to be.

I don't think you're going to get a much faster lens than ƒ/1.4 without dropping a truckload of money. There's a Canon 24-70 ƒ/2.8, it's AU$1750 so it's not small change, but would probably be reasonable to rent if you want fast + zoom + autofocus.

I'd definitely look at a good monitor, if you're having to judge focus off the camera's screen you're going to struggle.

You could look at hiring a Sony α7, they have better low-light performance. You'd need Sony glass to go with it.

Would an on-camera light be possible? A bit more obtrusive, but you can at least do vox-pops or whatever and see what you're looking at.


What's the encoding difference impeding playback on iOS?

The Vegas export is

60 fps
NTSC sized raster but with a non-square and weird pixel aspect
Audio track is first
File major brand is Sony-specific.

Many confounding factors here.

First try to rewrap

ffmpeg -i 1.mp4 -c copy -map v -map a -movflags +faststart 1new.mp4

If not, render in Vegas at 30 fps and Main profile using the Mainconcept encoder.


What is best setting of Nikon D3300 camera to shoot daytime video from a moving car?

Shooting through a windshield is a very dicey proposition.  There is an amazing amount of glare that you don't see when you are in the car, but which you will see when you look at your camera footage.  A far better solution would be to mount a GoPro (or some other small, disposable camera) on the exterior.

Nevertheless, if you insist on using a DSLR, then only with a wide-angle lens will you get "the surrounding areas" to give context to your road.  You can think of angle of view this way: if you have a 90 degree field of view, then you have (in the left half of the frame) something that sees the range from 45 degrees left to the center of the road and (in the right half of the frame) something that sees the range from 45 degrees right to the center of the frame.  45 degrees to one side or another is not very wide-angle (compared to turning your head and looking sideways), but wide enough to show some very limited context.  To achieve that with a DX format, you need a 10 or 11mm lens.

For shutter speed, you don't want too much blur.  25 miles per hour is 36.7 feet per second.  Since you are shooting at max 45 degrees, 36.7 * cos(45) = 26 feet per second.  If you shoot at 60 fps with a 180 degree shutter (1/120th of a second), then the largest blur on the sides will be 26/60 = 2.5 inches.  2.5" may be an acceptable amount of blur for a building-sized object that's on the way out of the frame.  If you look closer to the center of the frame, say 22.5 degrees off center, the blur will be 36.7 * cos(67.5) = 1.4 inches.

Wide-angle lenses tend to have deep depths of field, so you can safely use an aperture that gives you the right exposure (but check your depth-of-field charts).

But a GoPro will give you a better result for many reasons, not least because they have built-in very wide-angle lenses.


How does Apple Motion compare to Adobe After Effects?

After Effects is much more powerful than Motion when you get into advanced stuff like scripting your animations.  After Effects is much more tolerant to large projects, and you can "precomp" different sequences (which is difficult to explain without you actually seeing it; basically allows you to put one timeline inside of another or reuse a specific portion of your project over and over, if that makes any sense).  Apple Motion only allows one timeline per project, you cannot nest sequences inside one another without rendering out a QuickTime movie.

Apple Motion does however boast that it gives you "realtime previews" which plays your animation instantly, whereas After Effects typically requires you to render a RAM preview in order to see your animation in realtime.  Of course this depends on the speed of your computer and the complexity of your project, so this is really only handy for simple projects.

When you want to start doing really custom effects like particle systems and other physics based or true 3D compositing, your options are very limited in Motion.  After Effects has a whole range of plugins available online that will do almost anything you can think of.  The Trapcode plugins are very well-built and very popular.  There are very few plugins for Motion compared to After Effects.

I've used both for years, and Apple Motion seems to crash more often than After Effects, especially as your projects get more complex (just personal experience, maybe this has improved as of version 5).

I actually started animating for the first time in Apple Motion, and I agree that the learning curve isn't quite as steep as After Effects (although that was Motion 2.0 and 3.0, and now they're at version 5.0).  Once I mastered Motion and dove into After Effects, I haven't looked back.  I recently fired up Motion for the first time in a few years and I was struggling to get it to do what I wanted to do, my brain has just been trained to think like After Effects.  Even though at first I was more productive in Motion than After Effects (because After Effects is more complex), I have completely reversed and now I feel like I'm a speed machine in After Effects and Motion is now useless to me.

The bottom line: if you're serious about getting a professional tool to do professional work, save up to get After Effects.  If you're just a hobbyist that wants to dabble in animation, get Apple Motion (now that it's on the Mac App Store the price has come down considerably).

Hope this answers most of your questions!  If you have any other specific ones, let me know and I'll be happy to talk.


Exporting h.264 from Premiere Pro resulting in black screen on Windows 7

h.264 has different "levels" of compression.  These levels have to be supported by the particular playback engine.  Windows 7 supports up to level 5.1 via it's Media Foundation library, however your video is encoded with level 5.2.  Since Windows 7 does not natively have support for this version of h.264, it is unable to play the video component.

You can either re-encode with a lower level or you can suggest that viewers either install a codec pack to provide support or use a third party viewer that includes built in support.


How to recreate these effects I found on IG?

You need a video editor that let you add curves to your video. Davinci Resolve is a great option.

Convert it to grayscale, you can simply reduce the saturation to 0.
Invert the curve. Augment the contrast making the curve more vertical.

Bring the green and Blue channels all the way down

Play a bit more. But that is the idea.

Option two for the final color is to add a color rectangle with different blending mode in the editor.

https://pixabay.com/es/photos/verano-flor-cabello-retrato-cara-4246927/


MP4 video rendering differently on different browsers and different machines

Unfortunately you are not going to be able to accomplish your goal.  Two major factors impact this.  First, color processing on different systems is going to differ.  This will result in slight differences in the colors that are displayed because many video players apply "enhancements" to video and what you actually see when viewing the video in a browser is an embedded player that is installed on the local machine.

Second, different software is also going to use different implementations of a decoder which may result in slight differences in color based on optimizations and rounding error based on how they do their calculations to get the video out.  It's just a side effect of the way the players operate, there isn't a problem with your source (as the data in the file can't change from one player to another.)


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

If you want equal-sized splits, use

ffmpeg -i input -segment_time 30 -f segment -force_key_frames expr:gte(t,n_forced*30) -reset_timestamps 1 a%02d.mp4

If you need to split at irregular intervals, use

ffmpeg -i input -crf 18 -segment_times 30,60,90 -f segment -force_key_frames 30,60,90 -reset_timestamps 1 files%01d.mp4


What are the WebM (VP9+opus) encoding settings compatible for YouTube import for a video with a still image?

Rather than framerate, the issue is there's only one frame. You'll have to loop the image.

ffmpeg -i Audio.opus -loop 1 -i image.png -pix_fmt yuv420p -ac 2 -s 640x360 -strict strict -r pal -shortest myAudioFile.webm

-loop 1 : infinitely loops over the same image
-shortest : stops encoding when the shortest input stream has entirely been encoded


Adobe Media Encoder CC 2017 Will Not Launch on Mac OS Sierra

When you choose Export Media from Premiere Pro CC 2017, there are options to either Queue the export request (which sends to Media Encoder, aka AME) or Export directly, which, as it says, directly exports media without going through AME.

Perhaps your Console log has some notes about what your system doesn't like about AME (or vice-versa).  On my system it launches without error (though it takes its time initializing all the bundles before it starts).


Do teleconverters work properly for recording movies with hybrid cameras?

It really depends on the capabilities of the focus system on the camera and the particular teleconverter and lens used.  Since you mention action videos, I assume you will be dependent on autofocus.  Not all teleconverters are able to properly communicate focal length and focus adjustment controls, so you'll need a "smart" teleconverter.

Additionally, teleconverters have an impact on the f-stop at which a lens can shoot and because of the way they operate, with some lenses, they limit the aperture settings at which autofocus can occur.  You'll want to check the documentation of the particular teleconverter you intend to use to make sure it is compatible with the lens and aperture you wish to shoot at.

Finally, there is the concern of the precision of the AF motors.  Extending the focal length of a lens also narrows the depth of field and makes the precision of the AF motor much more critical to avoiding focus "breathing" where it goes in and then back out of focus.  This is also going to be lens specific and some lenses will do better than others.

This is all running on the assumption that you have hybrid pixel phase detect autofocus on the hybrid camera in question (or some other form of non-contrast based phase detection that allows direct travel to the proper focus point.)  If you do not, then you will have issues with focus breathing with or without the teleconverter that will be less than ideal for video purposes.


Why is after effects turning my Prores audio into white noise

My guess would be that AfterEffects is assuming something about the audio format which Quicktime is handling correctly but AE is not.  Check your format settings; you might need to specify a different byte ordering (also called "byte swapping") or tell it to be explicitly 16-bit instead of, say, 24-bit.  In Quicktime you can see what the audio format is via the movie inspector.