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Compressing of DSLR video
I m recording full HD video in 1080p /30p format with my Nikon D5200 but i find the size of video is to high i.e. 10 GB for an hour. Now i want to compress it to lesser size in the range of 1-2 GB without affecting even a bit of quality so that i can archive it without exhausting my storage drive. I want it in 1080p format with lesser size after compression. As i have recorded 200hr video and still keeping RAW video with my storage which has exhausted it. Is there any software or any solution so that i can convert it to lesser size? Pl help as i havnt found any full proof solution for this. Ur suggestions will heartly be welcomed. I have to use these videos on my large screen tv for teaching purpose.

This question will be closed because it is not about photography. But you want to compress it at 20% without affecting even a bit of quality? You can not do that. Every re-compression has a quality cost. Take a look at some free video converters. This one is pretty stable: http://www.dvdvideosoft.com/es/products/dvd/Free-MP4-Video-Converter.htm make some tests with Mp4 format.

Some pointers here: Wikipedia: List of Codecs: Lossless video compression.

Your video is already compressed, it would take 672 GB if it weren't. Another 5:1 compression without affecting quality is simply impossible.

I STRONGLY suggest you make a coy of my answer. It's MTBF may be very low.

10GB/hr with audio translates to roughly 22 mbps. If it's simple visuals i.e. little movement, plain surfaces, little noise, you may be able to achieve 1/3rd of the source.

Maybe http://unix.stackexchange.com/questions/230800/re-encoding-video-library-in-x265-hevc-with-no-quality-loss - also see my answer.

Theoretically
Current DSLRs use H.264 compression for their video. Optimizing an already compressed image without losing quality is something commonly done for GIF, PNG or JPEG still images, and while it's theoretically possible to optimise compression in existing video files, currently no one bothered to develop the software to do so. The only solution left for you is to recompress your video with your codec of choice.
Don't try lossless codecs
While you won't lose any quality, lossless is only useful if your source material has a very high datarate. You will probably not gain anything compared to your DLSR files. (Your files seem to be about 25Mbit/s. Lossless x265/x264 will give you at least 100-200Mbit/s)
Try almost-lossless
Still, it's good to know that the internal (hardware) codecs of DSLRs are inferior to what your current CPU can do with recent software. But you should also know that any lossy recompression will result in an image that is slightly worse than the original, even if you encode in a higher quality than the original. That being said, here is a list of modern codecs that can compress your files with minimal loss: x264, x265, vp9 and av1 (to be released in 2017).
x264/x265 Settings for recompression with minimal loss

Encoding mode: constant quality. It will encode in one pass and output the lowest file size for a given quality setting. Your new file will contain variable bitrate video — your original DSLRs files are probably constant bitrate files
CRF quality setting: Choose a value between 12 and 20 (quality difference will be between indistinguishable and fine-for-the-less-discerning), if the source material is compressed in low quality, you can sometimes go higher than a CRF of 20 without noticing any difference. Incrementing CRF by +6 means about doubling the file size.
Codec: Compared to x264, x265 compression produces about half the datarate at the same CRF, but it is a lot slower.
Speed/Compression ratio: Use the veryslow setting to get the smallest file. Warning: this might be very slow ;-)

Depending on the above choices and on the complexity of the image and on the efficiency of the codec of your DSLR, your recompressed file will be up to 10 times smaller (probably less).
Handbrake is a nice app that will help you achieve all this. If you prefer the command line you should definitely go with ffmpeg:
ffmpeg -i DSLR.MOV -c:v libx265 -preset veryslow -crf 18 -c:a copy recompress.mp4

Without affecting quality, and presuming your CPU and GPU are fast enough, utilizing the x265 / HVEC encoding library may be the best option. This can be done with Handbrake or FFmpeg, it can be a lossless encode, however takes more time to decode and encode on a slow CPU, sometimes causing frame drops while viewing. See Handbrake for more. Also, this question on the UNIX fourm may be of use.
ffmpeg -i INPUT.mkv -c:v libx265 -preset veryslow -x265-params lossless=1 -c:a copy OUTPUT.mkv

Is the command I use. It hasn't been a problem, and is working quite well as I am teaching students Premiere in classes. However, for speed, the raw format or the x264 codec is the best. x265 is the newest and most compressed video format, it works reliably, but not quickly with old CPUs.

I heard that x265 is better than x264 in terms of quality to time ratio. You sure its slower than x264? I'm new to all this that's why.

It took 4 hours to encode a full BluRay rip from AVCHD to x264 on ultraslow, and almost 8 from AVCHD with the ultrafast libx265, using Plex Optimization Tools and transcoder. No streams were running, and a bandwidth of 25 MB/S per drive over 2 separate drives certified for USB 3.0 using a USB 2.0 bus. Tests completed Nov. 8th 2016, using Plex. Media length was 2.5hrs. System used: Mid-2010 iMac 12 GB RAM, 3.06 GHz on 4 cores.

without affecting even a bit of quality

Use lossless codecs like Lagarith (implemented by FFMpeg, not widely supported) or lossless H.264 (implemented  in x264, widely supported as generic H.264 codec).
Try both and see what works better for you.

There are a range of free or lowish cost compression programs available online. I asked a similar question on [PICList](http://www.piclist.com] recently. The following is an extract or portions of some replies. This thread was migrated from SE Photography where it was "OT". Despite the downvotes there or here for whatever reason this is liable to be of significant use to some people with similar needs.
Actual thread here on the 'Nabble' webscraper

I wish to upload a number of videos to Facebook & You tube (the shame!).
Any suggestions re free or for money WIN10 compatible programs that meet the following need would be welcome. In many cases these are usually of higher resolution / quality / size than is generally required.
The files are 1080p MP4 format, usually "Out of Camera".
A web search for converters produced several zillion promising leads and nothing as yet attractive enough. "Free" would be nice (and there are various claims re fully free) but 'sensibly priced' is acceptable if useful enough.*
Windows Moviemaker allegedly runs on WIN10 but attempting to download the allegedly relevant 'essentials' package produced discouraging messages.

Allen Mulvey.
I think WinX HD Video Converter Deluxe will do what you
want. Not free but reasonable. Their DVD ripper is also very
good.
https://www.winxdvd.com/specialoffer/index.htm#a3
Ashampoo also has a large variety of high quality but
inexpensive software. I'm not sure if they have exactly what
you want. You can find some of their stuff here:
https://www.ashampoo.com/

James Burkart:
Try Handbrake. https://handbrake.fr/
David VanHorn
I use vsdc free video editor.
Ross McMillan
I use WMM.  It is pretty smart when it comes to uploading - you can fine tune the parameters or use one of the "canned" ones - and it tells you how much storage (and presumably upload bandwidth) per minute of video is used by whatever you have selected.
Richard Prosser
I've used "Format Factory" although it's been a while since I needed
it.  Not sure aout Win10 compatability - I'm on Win7 & linux.
Russell
https://www.winxdvd.com/specialoffer/index.htm#a3
Looks reasonable and far more capable than the core task I wanted it for.
Nicola Perotto
from SourceForge there is TEncoder
https://sourceforge.net/projects/tencoder/?source=directory
very good, simple and fast. Good for batch conversions.
For fine tuning the conversion use ffmpeg http://www.ffmpeg.org/
Russell.
As a first attempt "Handbrake" has made a useful difference and I'll try to check all the free recommendations and maybe the so far single for $ one to see what other capabilities are available.
I am an 'obsessive' still photo taker but 'videos happen' along the way and being able to easily put them on the internet is highly desirable.
Justin Richards
VLC does a good job at everything to do with media it seems.
Ken
I have used Handbrake several times to make backup copies of commercial DVD's.
https://handbrake.fr/
The user interface is pretty clunky and it took me a while to figure out how to use it and what the best settings were, but once that was sorted out it works as advertised.  I have never used it for video file format conversion but I believe it can do that too. It's probably been updated since I last used it a couple of years ago.
I have also heard good things said of Free HD Video Converter  - but have not used it myself.
http://www.videoconverterfactory.com/free-hd-video-converter/

I'm very much supportive of trying to help people, but this is a quintessentially un-StackExchange-like answer. It's basically a repost of some discussion thread at piclist.com (which is very difficult to find; you didn't link to the thread, just the top-level site). This is also categorically off-topic. I would much rather see a recommendation to migrate to video.se

@scottbb The question was on another SE site where I knew it would have a short lifetime. I wrote the 'answer' to help the OP. Minimum time to market was vital :-).  I had no hand in where it was migrated to and will be happy if it can find some green bay to peacefully lie at anchor in and be suitably attended to by others who can answer it well.

I recommend that you delete this answer. You'll get back your lost points and badge.

@Macindows Thanks for the concern. I had a look through the answer and despite the downvotes (partially from having started off in another group, I think) it seems liable to be immensely useful to some people. So I've edited it to include a link to a copy of the original thread. I can stand the points and badge loss :-) -  I have an excess of them elsewhere on SE and my hope is to be useful to people - which I think this achieves. A shame the downvoters don't think so too :-).


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IPTV Link loop ffmpeg
So I want to record a transport stream it's not a m3u
http://flamingzebra.xyz/2728.ts
I tried to record it in vlc it doesn't work The live stream is in fragments so I have to loop it.
Can this be done with ffmpeg, and is there a way I can just download the fragments.
Note that is not a link

Need to know the protocol of the stream.

I think the protocol is http

source: Stack Exchange

license: Creative Commons - Attribution Share-Alike - https://creativecommons.org/licenses/by-sa/3.0/

sort: votes


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How to paste one specific attribute only?
"Paste attributes" allows me to select which effects I want to paste.
However, for "Motion", it seems to be all or nothing (screenshot below). This is even though within "Motion" itself, there are 5 separate attributes, namely, Position, Scale, Rotation, Anchor Point, and Anti-flicker Filter.
What if I only want to paste, say, the Scale of one clip on 10 other clips, without changing the Position, Rotation, Anchor Point, or Anti-flicker Filter of the other 10 clips?
(Using CC 2015.)

There is no simple way to do this, as Position, Scale, Rotation, Anchor Point, and Anti-flicker Filter are attributes of the Motion effect that is applied to all clips by default. So even though the Paste Attributes panel allows you to paste effects individually, you can't paste the individual attibutes of the Motion effect.
You can, however, use a workaround.
In this case, a simple solution is to add a keyframe and copy that instead. If you have only one keyframe per attribute that holds the desired value, it won't change over time, thus it will be the same as not having the keyframe at all and just using a static value for that attribute.
Step by step:

Select a clip in the timeline and in the Effect Settings panel, set a value for the attribute you want to change (e.g. Scale).
Now press the Toggle Animation button (the clock icon next to the effect attribute designation). This will add one keyframe at the current playhead position that holds the value set in step one. If you want to change that value later on, make sure that the playhead is exactly on this keyframe, as it will create a new keyframe otherwise.
Select the keyframe by clicking on it and press CTRL + C to copy it into the clipboard.
Now select the target clip that you want to paste the attribute onto in the timeline and switch to the Effect Settings panel once more. Press CTRL + V to paste the keyframe. The keyframe still holds the value set in step 1., so you have effectively pasted just that attribute's value onto the new clip.

You can also do this with multiple keyframes (both within one attribute, in case you do want to change the attribute's values over time, or spanning multiple attributes). Just marquee select all the keyframes and copy them into the clipboard. The program will remember which attribute each keyframe belongs to. If you paste multiple keyframes with intervals between them, the intervals will remain and the first keyframe in the section will be pasted at the current playhead position.

This should be accepted

all_licenses: Creative Commons - Attribution Share-Alike - https://creativecommons.org/licenses/by-sa/3.0/


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How to extract and modify data rate and time scale from OpenDML (AVI) file
I'm working on a Python script to bulk transcode video files. These files will have different framerates, and one of the goals is to get them all to the same framerate, by making some intelligent decisions on whether to slow down or speed up the playback or to decimate or duplicate frames. As I understand it, the framerate is stored as two 32-bit integers, for example 29.97 fps is actually stored as 30000/1001, and I need to work with these values. I'll also use these values to calculate how much to stretch and pitch shift the audio. The framerates of the source files are not necessarily standard ones, but they may be anything from slightly off from PAL or NTSC to completely screwed up, and using the values that are actually in the files makes it easier to make the calculations.
So, how can I extract them, and, in the case of slowing down or speeding up the video, write back modified values?
Preferably a commandline tool (needs to run on FreeBSD).
I'm also open to parsing the headers directly from the script, but unfortunately I don't know where to find them.
The specs I've found more or less list the various structs (as defined in C) for the various headers, and a more skilled programmer may be able to use this, but I need a simpler explanation. I don't need help with the actual scripting, I just need help understanding where the information is located.

OpenDML AVI File Format Extensions
AVI File Format

What tool will you use to transcode?

@Mulvya I will be using ffmpeg

Then you are all set. Just set a -r N and ffmpeg will duplicate or decimate as required. In any case, you can get framerate from ffprobe.

@Mulvya I know ffprobe, and it doesn't give me the info I need. As an example I got this from a file: 23.98 fps, 23.98 tbr, 23.98 tbn, 23.98 tbc. I need to get the 24000 and 1001 from that. And for a standard framerate like this, it's pretty easy to deduce, but the source may have practially any framerate, like 21.749128.

You need to query for stream entries i.e. ffprobe in.avi -show_entries stream=r_frame_rate,avg_frame_rate -select_streams v -v 0 -of compact=p=0:nk=1 The first rational value is from the stream header; the 2nd is the computed value which will differ for a variable frame rate stream.

Anyway, my point was if, while transcoding, you supply -r N, ffmpeg will take care of duplicating or dropping frames. If the input is VFR. it will duplicate where the segment's rate is lower and drop when higher.

@Mulvya That did the trick. Thank you. If you add an answer, I'll accept it. (the ffprobe command).

ffprobe can supply the frame rate as a rational value
ffprobe in.avi -show_entries stream=r_frame_rate,avg_frame_rate -select_streams v -v 0 -of compact=p=0:nk=1

The first rational value is from the stream header; the 2nd is the computed value which will differ for a variable frame rate stream

Seems I got a bit excited, and this was only half the solution. In the cases where I let the script decide to slow down or speed up the video, rather than decimate/duplicate frames, I also need to modify the fps without modifying the stream, but I found that ffmpeg can handle these cases too. E.g. slow down from 25 to 23.98: ffmpeg -i in.avi -r 24000/1001 filter:v "setpts=1001/960*PTS" out.avi. I was afraid that this would first drop some frames, then duplicate some of the remaining ones, but in the tests I've done, it seems to just modify the fps, then transcode the original frames.

It is the encoder which drops or dupes frames based on the frame rate required. It does this by looking at the PTS series. Since the setpts filter is being used, it is getting the expected number of frames. Had your setpts argument been different but the same r value: e.g. PTS*2002/960 then you see frames being added.

Good to know. Thanks. I'll even throw in a Merry Christmas. :)

Happy Holidays to you too.


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Can ffmpeg create DVD subtitle streams from (Advanced) SubStation Alpha files?
As the title says, I'm wondering if ffmpeg can create DVD subtitle streams from .ass or .ssa files. The key point being that I want libass to be used when rendering the subpictures, so they get rendered exactly according to the file.
I've tried something like ffmpeg -i input.avi -i input.ass -f vob -c:v mpeg2video -c:a ac3 -c:s dvdsub out.vob but it fails saying that picture subtitles are needed.
I've also tried using spumux from the dvdauthor package, and while it does render subpictures, it reads only the timestamps and the text from the input, thus making the use of .ass or .ssa pointless.
If ffmpeg can't do it, what other options are there? CLI applications running on FreeBSD are prefered (most Linux open source applications can be compiled on FreeBSD, so those are fine), but I'll consider Windows GUI applications as well.

Appears not. Try https://sourceforge.net/projects/maestrosbt/

@Mulvya That may work, and I'll look into it if I don't find anything else. I would prefer CLI aplications able to run on FreeBSD. I just edited my question to include that.


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Credit Rolls.. How do I get the credit rolls to look good? FCPX and Motion5
I use Motion 5 to create credit roll export.
It just looks awesome. THEN, I import it into FCPX and after export, it looks jumpy.
Does anyone have the golden tip? I've heard about Motion Blur.. tried it.. didn't do the job. I'm beginning to think that I have to export the file without credits and import into Motion 5 to attach the credits and export again..
(Haven't tried that, but a .mov from motion works)
Appreciate the input.

Is your final output interlaced? There's some special voodoo you need to make credit rolls work when interlaced: you need to move a multiple of two pixels vertically with each frame.

it looks jumpy

Most probably you have mismatch of framerates between Motion 5 project and FCPX. Check if they match. Also check all other video settings, to match your FCPX composition.

Add motion blur if your finished titles are moving more than 3px per frame.

Hi Shultc,
You are so right.. I did have Motion set to 59fps. Then it looks awesome.
The project was in 24fps..so that makes it bad.
However, I tried the credit roll in 24fps in Motion and then it looks bad too.
The motion blur helps a little, but not a lot.
I did notice it in the cinema sometimes as well, that it is jumpy when on 24fps. Is there a way to do it properly on 24fps without the jumpy/jittery scroll? Do you know?

It is difficult to say, without looking. If you are talking about thing, that you see how frames are changed on 24fps, then no. You can only make more frames, for more flued scroll. Or make scroll slower. I did not worked with both of your programs, but you can try to change framerate to 48fps (24fps*2). Maybe it will help.


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How can different deinterlacing algo make shots look more like movie or like video?
I've noticed that many scenes in Vidocq look very cheap, like a cheap TV series.
Wikipedia article on Vidocq says:

As the final PAL DVD release shows, the film was shot 25i
  (interlaced), and only special effects shots were deinterlaced by
  means of smart field blending (imitating a progressive-type amount of
  motion blur due to a different shutter speed of progressive modes)
  during post-production, as the special effects crew obviously was in
  demand of progressive frames which are easier to process for special
  effects, before for the final release all normal shots were
  deinterlaced by means of simple line interpolation instead. The result
  are video-like appearance of motions in normal shots, and distinctive
  film-like motions for all effect shots due to the different amount of
  motion blur resulting from the different deinterlacing methods.

I've read How to get the Cinematic look and why movie video is different from other videos (sports, news, or other), but they don't discuss motion blur.
Why different deinterlacing algorithms make such a difference? Is it really just the sharpness of video picture vs blurred picture for a movie or, in fact, Vidocq has just been filmed cheaply with poor lighting, for example?

The complete answer to your question, which definitely includes motion blur, but also more than motion blur, is found in this article in The Accidental Scientist.  To summarize:
The human vision system has at least two major components that work together in a counter-intuitive way.  Persistence of Vision makes it possible for a sequence of images playing at only 16 frames per second to create the illusion of motion.  It is not a super high-quality illusion of motion, but the eye sees it as actual motion, not a sequence of images being flashed in rapid succession.  Ocular microtremor is a phenomenon that explains why the acuity of the eye is more than 4 times the Rayleigh limit.  And its oscillation frequency ranges from 70-105 Hz, and it averages around 84 Hz.  A playback frequency 16fps or faster, but 42 fps or less means that the eye both perceives motion and can super-sample the image.  Frame rates that are greater than 1/2 the microtremor rate (which for some mean 35 fps-70 fps and for others 53 fps-105 fps), the eye does not get to super-sample the image, and thus feeds the brain an image that fools persistence of vision, but doesn't satisfy the ocular microtremor system.  Once the frame rate exceeds the frequency of the microtremor system (120 fps easily does this), the eye sees that as "actual reality".  The article argues that the "uncanny valley", between 35fps and 105fps, is why 48 fps movies are not perceived to be 2x better than 24 fps movies, but actually worse.
Where motion blur comes in is that it softens the edges of objects in motion, letting the brain, not the eye, fill in the details.  Evidence suggests that the standard formula that shutter speed should be 1/2 of the frame rate (1/48th of a second for 24 fps playback) provides the ideal balance between the brain-based system and the eye-based system to work together.
When a shutter is open for 1/2 the frame rate, it's called a 180 degree shutter (in part because that's how it was created mechanically back in the day).  One can shoot with a more open shutter (up to 360 degrees) and one can shoot with a more constrained shutter (144 degrees, 120, 90, 60, 45, etc).  Different shutter angles create very different looks in part because it plays with the balance between these two visual systems.  The D-Day invasion footage from "Saving Private Ryan" was shot with a narrow shutter angle specifically to set the eye on edge.
All this to say--shutter angle and motion blur are very much a part of the perception of "smoothness" or "sharpness" of the motion.  Interlacing is an artifact that mostly just messes things up in the progressive video world in which we now live.  The small details on how people get around interlacing artifacts has little to do with understanding the "Cinematic look".  The Cinematic look is really based on the deeper principles of shutter angle, frame rate, and of course lighting, lensing, atmospherics, etc.  Interlacing either degrades things a lot, or not too much, and while it's strange that somebody would choose two different approaches to interlacing artifacts in a single production, that's less to do with explaining anything deep about the Cinematic look and perhaps more about the discipline (or lack thereof) of the production team.


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How to reduce background noise in the video
I am creating a video tutorial to upload into youtube , but after recording with the help of camtasia i am unable to remove the noise form the video.
Note : I am able to remove the system noise like clicks etc., but unable to remove the noise created by vehicles outside my home.
Is there any way to develop quality videos in this scenario

2nd Mario's comment. For getting rid of recorded audio noise you might want to try ProTools | First freeware, but many video editing software packages have some basic audio editing tools including filters for low mid and high range. If there's a bus going by as someone is talking, however, there's really not much you can do to get rid of it. Otherwise, sound proofing during recording might help some, as well as turning off loud appliances like refrigerators, or using a directional or near field mic (like a lapel mic).

This answer (and the video link included within it) tells you all you need to know.
The long and the short of it is that good audio is essential to good video, and getting good audio requires its own set of techniques, practices, considerations, and, in many cases, gear.
Sound attenuates at a 1/(r^2) rate for point sources.  Unfortunately, an automobile roaring through your walls functions more like a area source, not a point source, and thus decays very little from one end of the room to another.  Nevertheless, a headset can put a microphone very close to your mouth, and that can push the room noise floor down fairly far.  You might also consider making videos between the hours of 2AM and 4AM, when vehicular traffic is minimal.

Any recommendations for a good headset mic, for this scenario?


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Tips on making a YouTube channel
I had the idea of starting a YouTube channel (called 'Hardcore Durability Test') focused on creating entertaining durability tests on all sorts of items. The show would be presented by two children (one 13 and the other 11) who are actually much more sensible than their ages suggest. Does anyone have any general tips on making this? Thanks!

You need to be way more specific. What sort of advice are you after?

Mainly about how to gain popularity and optimise video content to achieve this.

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.

YouTube is the answer to YouTube. There are plenty of Videos on how-to everything.
You can see other people's Format (and comments) so you don't copy the bad ideas or compete with a far better Channel.
From learning what is current and what other people have done, to finding out which Camera is recommended (and what Settings / Bitrate / Format). It's all there.
10's of thousands of hours of lessons.


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Can Panasonic HDC-SD90 record pc screen
Can a Panasonic HDC-SD90 record pc screen via HDMI or AV MULTI Cable?
Thanks.

No.  The HDMI and AV MULTI Cable ports are output, not input ports.  Depending on the OS of your PC, there are programs that capture screen video.  Such programs are used by gamers to capture their gameplay.
This link gives some information about recording screen output for Linux: https://fedoraproject.org/wiki/ScreenCasting

Thanks, Just making sure that I don't buy a cable and find that it doesn't work.


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H264 Remove Encoding Settings - Error FFMPEG
" Removing MP4 encoding information " I have tried the formula of interpretation but I have compared it with such an error.
" Unknown bitstream filter h264_changesps "
What am I supposed to do?

That filter is only available in the ffmpeg version available from the link I gave there. If you've already downloaded it, make sure you are not invoking anoher ffmpeg binary found in your path.

I understand. Thank you. How to change " Writing application         : Lavf57.66.101 " Example : " Writing application         : wtfheroes "


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Turning off Automatic Panel Opening in After Effects
It's that wonderful time of the year again, where I scrupulously comb over my After Effects layouts culling any dead weight in terms of unnecessary plugins or panels that can be more efficiently organized or removed entirely. After creating, what I felt, was a beautiful layout for expressions, I hit a bit of a snag. Whenever I go to create a text layer, it automatically opens the "Character" and "Paragraph" Panels. While that is convenient, it completely distorts my layout.
Before there used to be a little checkbox in the top right of the screen - I believe on the tools - but now I can't find it. It's even referenced on this article Formatting paragraphs and the Paragraph panel saying "Note: To open the Character and Paragraph panels automatically when a type tool is active, select Auto-Open Panels in the Tools panel."
I don't know if this is outdated, or if I'm just not seeing it, but could someone direct me to a way of disabling this feature?

The option is specific to the Type Tool. Once you select the Type Tool, the corresponding Panels will open and the option will appear in the Tool Panel (which is on the top edge in the default layout).

Uncheck the Auto-Open Panels Option to turn that behaviour off. Once you do this, the Paragraph and and Character Panels shouldn't be toggled automatically anymore.
If you have rearranged your Workspace and there's not enough space for the Tools Panel, the Checkbox might not be visible in your layout. In this case, save your current Workspace (Window → Workspace → Save as New Workspace…) so you don't lose it, then switch to the Essentials Workspace and reset it by selecting Reset "Essentials" to Saved Layout in the same submenu. You should now have the default After Effects Workspace back and be able to see the Auto-Open Panels option.


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Shortcut to remove all keyframes from a clip
Say I have a bunch of keyframes on a clip. I want to delete all of these keyframes.
Say the keyframes are limited to position, scale, and opacity. Then the quickest way I know of doing this is to

Select the clip.
Click on the stopwatch icon next to "Position".
Warning pops up: "This action will delete existing keyframes. Do you want to continue?" Hit "OK".
Repeat Steps #2 and #3 for "Scale" and "Opacity".

Is there a quicker way of doing this? I'd imagine there's some quicker shortcut.

You can delete the keyframes quickly by selecting them in the Effect Controls panel.

On the right side of the panel, you can see the mini timeline containing all the keyframes at their corresponding positions. First, double-click the bar at the bottom to make sure the entire clip area is visible. Then, you can drag a marquee selection with your mouse, or click anywhere in the keyframe area and press CTRL + A to select all keyframes. Then simply hit backspace on your keyboard to delete the selected keyframes. If you delete all the keyframes for an effect parameter, this will also reset this parameter to the last value it had before you activated the animation.
Note that this does not deactivate the animation for that parameter (i.e. the stopwatch icon stays highlighted). So if you change the parameter value after that, it will create a new keyframe at the current playhead position. Press the stopwatch icon to deactivate the animation for the corresponding parameter. If the parameter has no keyframes, the warning prompt will not pop up.

Right click and hit "Clear all keyframes"

all_licenses: Creative Commons - Attribution Share-Alike - https://creativecommons.org/licenses/by-sa/4.0/


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Post production removal of uneven green screen with glass object shattering in foreground
We have a glass object falling and shattering into many shards. Unfortunately the green screen was uneven causing different shadings on the background.
Our edior says to use the shot, he would have to rotoscope all the frames which is not practical on our budget for our short film. It is a very important shot.
Is there an alternative way of removing all of the green screen by computer by screening out a range shades of green?

What application are you editing in? (Or which apps do you have access to?)

A screen-grab of the footage or a sample clip would be helpful too.

If the example were a lightbulb at the top dropping to the bottom you would take one frame with the bulb at the top and one frame with the bulb at the bottom, then simply use half of each as a mask.
Choosing a range of colors is also possible if it's not so wide as to reduce the remaining.
Movement detection is also possible.
Where this would be really tough is a moving camera and a light colored Green Screen that was poorly lit with a darker green object that moved slightly and rotated in one spot - better to use a red or blue screen in that case.
Here's a manual and automatic Photoshop technique example: https://phlearn.com/tutorial/automatically-remove-objects-photos-photoshop/ .
Uploading the Video to YT as unlisted would allow us to give a more precise answer than guessing the situation and providing a general answer.

I don't even see how rotoscoping would help and can't think of a way to solve the issue directly with the green screen footage (if I understand the situation correctly anyway).  If the glass is transparent, it is going to cause further distortions and the green screen itself is going to impact the color of the glass.  That alteration to the color would still be there after green screening.
This sounds like something that should be done on a matte black background and luma keyed rather than chroma keyed on green.  You'd get better information about the transparency of the glass then.
Alternately, the easiest way would be just to simulate the object entirely in CG.  You can make really realistic glass objects pretty easily using the video itself as an environment and get something that works better than either a chroma or luma key is likely to work.


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YouTube Season/Episode presentation
I found the following for a YouTube video, that I had never seen before:

As you can see, it say's the name of the channel followed by the season and the episode. I was wondering how this was done and whether I could set that up on my channel (it would make a lot of sense for me).

What you are referring to is called a series playlist. A series playlist is used to display videos in that manner.
What you have misunderstood is that it's actually the name of the show that is displayed before the "S11 E80", although I understand that it is confusing when the show has the same name as the channel.
This feature is easily utilized, it is however required that you have a verified channel. If you do, you should easily be able to add a series playlist from the playlist menu in the Youtube studio.
Best of luck

No, they did not misunderstand anything. There's actually a difference between what the OP observed and shared and the series playlist feature you're talking about. The former is possible through a series editor tool that is not yet available to everyone - it's in beta and has been, reportedly, available on YouTube Red. https://productforums.google.com/forum/#!topic/youtube/IBMNlSLSCJ8

Welcome! Since SE isn't a forum, there is no guarantee that your answer will always be displayed in a way that makes sense to see the context of the accepted answer. Can you rephrase your answer so that it can stand alone?

Ah, interesting. I know that one can mark videos as part of a playlist, and I presumed that YT would automatically figure out season and episode numbers. But apparently there is a dedicated tool for that. Thanks.

And it looks like the feature was eventually discontinued in August 2019: https://support.google.com/youtube/answer/7124330


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Do teleconverters work properly for recording movies with hybrid cameras?
Are teleconverters (x1.4 or x2) fine for recording movies (action videos) with hybrid cameras?
I was thinking that maybe the focus could be a little too slow, especially for tracking sports moves.

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.


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Nikon D3300 video auto-focus?
Could someone please explain to me how the auto focus works whilst videoing. Does it continuously auto focus or should i half press the shutter?

Nikon D3300 supports AF-S and AF-F modes for video recording. AF-F helps you to keep focus without touching the shutter release button. This page says that you never touch the shutter release button in AF-F mode. Just turn live view on, switch your focusing mode to AF-F, and wait until the camera focuses by itself (unlike what you do with a normal autofocus system while taking stills). Once the camera has focused, you can press the record button. Focus will be updated automatically.
I usually use manual focus, and tried AF-F to answer your question. It works well, except under low-light conditions (that's the reason for some issues, I think).


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Does having a gimball mean you can disbale stability on action camera
It's common for action cameras to have a lower frame rate when the electronic stability function is turned on.
My question is if you have a gimbal, is it useful/do you need to have electronic stability enabled on the camera itself?

As Michael Clark pointed out when the question was on photography, it depends on the type of gimbal, how good the gimbal is and how skilled the operator is.
An inertial gimbal works by giving the camera assembly a larger size and mass and then having the operator hold the assembly near the center of gravity.  When the operator moves, inertia slows changes in the orientation of the camera, resulting in smoothing of angular changes.  This requires the gimbal to be very near frictionless to minimize the impact of the operator's movement on the rotational inertia of the camera assembly.  A low quality or poorly maintained gimbal won't properly isolate the assembly and an unskilled operator may improperly balance the assembly or cause excessive motion do to the added weight and complexity of operation.
A robotic or motorized gimbal, such as a Ronan, acts on a slightly different principle.  They do not require the finesse of the operator to execute changes in camera direction as this is accomplished by a joystick (less direct control, but easier to operate).  Additionally, they are not quite as balance sensitive as the orientation correction is provided by gyroscopes and motors which can tell what's actually happening vs a simple passive physics based system.  Additionally, counterweights aren't needed for stabilization so the rig can potentially be lighter overall making it easier to handle.  The down side is the previously mentioned lack of direct control and the power requirements.  Additionally, the quality of the gimbal still becomes a major factor.  If gyroscopes are not sensitive enough or the motors are too imprecise or laggy, then the quality of the stabilization will be greatly reduced.
Both of these types of gimbals are designed for correcting 3 degrees of orientation and do not handle any lateral movement on their own (adding things like vest & arm systems can add some position stabilization as well, but weren't specifically mentioned in your question.)
Image stabilization on the camera depends on the camera.  Some use movement of lens elements (optical image stabilization) to correct the direction the lens is pointed as the orientation changes.  Others use free floating sensors that are able to move in response to motion to keep the sensor in the correct orientation and location in the image circle.
The amount of correction that either of these in-camera systems can provide is extremely limited since they don't govern the actual aiming of the camera body, but they can help with a degree of hand shake.  There is one noteworthy distinction though.  For the floating sensor types of camera stabilization, it is possible to correct of a limited degree of positional stabilization, not just orientation as the sensor can move up and down and side to side a bit.
In general, I would expect that with a half way decent gimbal and even intermediate experience as an operator, you should get much better overall results with the gimbal, but depending on your shooting situation, you may still gain some additional benefit from the camera's built in stabilization if it has a floating sensor particularly.  You really need to try messing with it either way though as the movement may be sufficient to throw off the balance and cause issues with the gimbal as well.
Certainly the effects should be pretty minimal, so if your primary concern is recovering the higher frame rate, then using a gimbal and turning off the in camera stabilization won't give you a major sacrifice in stabilization quality.

Any type of stabilization requires trade-offs, IMHO. Motorized/Gyro mounts are not cheap, and are bigger and weightier than most action camera scenarios I can imagine using, especially when you get 4 and 5 axis controls. Most action cams seem to have a very short focal length lens so the apparent motion is minimized while the field of view is increased. I think this is a design criterion for them.
In my experience with my action cam (a Garmin VIRB Elite) I found that the built-in stabilization kinda-sorta works. (I have not used a newer Garmin or a GoPro, they may do better.) The stabilized image seems to suffer from block artifacts in the biking videos I have shot, using the stabilization. I finally got a helmet mount instead of the handlebar mount for the VIRB, and use the camera without internal stabilization. This gives me acceptable frame rates with the action camera, all by using my head.
For just walking around and fairly stable shooting, I have my handlebar mount attached to the top of a weighted walking stick. Keeping a firm but soft grip on the stick gives me a very good poor-man's steady mount for the action cam. You can do the same sort of thing with a heavy (i.e. professional) tripod and your "other" camera. (Light-wight computer store or big box store tripods don't have the mass to do this, again IMHO.) Just be sure not to run the bottom of your steady mount into the ground, that really spoils shots.
One last caveat. Read the Fine Manual. There are often specific situations the documentation of good cameras will recommend that certain digital features be turned off. They don't tell you to do things like that if it were not important to help get you good pictures and videos.


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Canon xlh1 firewire is discontinued for reapair.?
I am looking for the part to fix my canon xlh1 fire wire. I was told this is the part a need DG3-1253-000 000 C 1 PCB ASS’Y, HP

Good luck with that. They don't make them anymore and haven't for almost a decade. And just about any 'parts' xlh 1 you might buy is a 'parts' unit because the firewire port has fried the main PC Board. From way back in 2008: https://forums.adobe.com/thread/385603

This question might be on-topic for https://electronics.stackexchange.com/ or at least there might be some peeps there with arcane parts supplier knowledge.

At this point the XL-H1 is over a decade old.  Your best bet for finding parts is likely either from the Canon Parts Order Desk at (866) 481-2569, or if they don't have it, then checking with one of the major Canon repair centers to see if they have any parts left.
The Canon Parts Order Desk will be able to tell you for certain if they no longer have more replacement parts for the XL-H1's firewire PCB.
Another possibility if parts aren't available is to purchase an HDV deck and transfer tapes via a playback deck rather than via the camera itself.  If you need live capture instead, an HD-SDI capture device such as a Black Magic Intensity or DeckLink card could do the job of uncompressed live capture.


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the videos that I recorded on my Canon DSLR are nowhere to be found
my canon DSLR stopped recording videos automatically then I deleted some videos and continued again but when I inserted my SD card to my laptop the videos are nowhere to be found. Are those videos somehow saved? if yes how can I access them? thanks

Did the camera stop recording because it was out of space? Why did you delete those videos?

Do you mean you are trying to recover the videos you deleted or do you mean that the files you recorded after deleting videos are not found either?  Is there any other data visible on the card?  Can you play back the videos on the camera?

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

I deleted it because the it said stopped recording videos automatically. thanks. ill give it a try. :-)


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Odd color split on Carnival light video

Don't know what is going on. This is a screenshot of a carnival ride and there seems to be color on the top and bottom of the video but not in the middle? I'm using an S8+.

Welcome to photo.stackexchange. I agree with your description of the screenshot. Can you edit your post to provide more information about the situation? Then, what is your question?

Is this something you shot?  The color is messed up on the bottom too.  It honestly looks like issues associated with tracking loss on a VHS tape and there seems to be interlacing issues on the most corrupt part, but that only makes sense if this is a video you found somewhere, not if it is something you shot.


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Canon 800D "Movie digital IS" stabilization - cropping video shot?
I am new to DSLR video and wondering, how is actually working "Movie digital IS" stabilization of my Canon 800D. If you shoot video, there are 3 options of IS stabilization - no stabilization, IS stabilization, and IS enhanced stabilization. If i turn on IS stabilization, it looks like it crops the shot (with "IS enhanced" option even more).
So my question is, on what principle is this IS stabilization working and is it lowering the resolution of final shot?

It is digital stabilization that works similar to stacking multiple still images. The 'ragged edges' that appear in some but not all frames are trimmed from the edges.

Even after cropping a few pixels from the edge, you should have way more than what is required for 1080p HD video resolution.


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How to post-process an image to turn trees blue and a face yellow?
I'm wondering what effect makes the woods so blue and the skin so yellow.
I think it's quite a common and trendy effect.
If somebody knows what is there changed, it would be nice to tell me :)
Luckily I got a photo without the effect and an edited one.

There are multiple things going on between the before and after image.  The first aspect is a color space conversion.  The original image is recorded in a "log" color space.
A log, or logarithmic, color space is designed to capture more detail in the shadows and bright areas of an image allowing for the image to be manipulated more easily in post production.  While RAW files can be used in digital still photography, the size is fairly limiting for video usage outside of very high end setups (and even then it is costly due to the tremendous data rates).  To provide a mix of flexibility between cost and post production adjustment, log color spaces sacrifice data about the midtones of an image to be able to capture more detail in the areas of contrast.  This gives much greater flexibility in adjusting the color and exposure of an image in post without needing pure raw data, however it makes the images take on a decidedly flat appearance as it is not a color space designed to emulate human vision, but rather to capture information about the image that can be used to produce an image in a linear color space that will look more natural to the eye.
The second thing being done is a color grade pass.  Color grading is the process by which a colorist adjusts the color of a video and gets a consistent look and feel between clips and to set the look of the overall video.  A variety of tools can be used, including color balance adjustments such as RGB curves which will impact the response of different colors between various different portions of the image (based on luminosity or brightness).  Hue adjustment tools, which will adjust the hue (or color) of different colors within the image, or LUTs (look up tables) which provide a fixed set of color replacements that can be applied to an image to produce a new set of color values given a set of colors taken in.
My best guess at this particular before and after is that the log color was balanced and adjusted to a normal linear color space and then a filmic LUT was applied that has a bluish tint to the greens.  It may have been an out of the box LUT from a vendor or a custom designed LUT depending on the colorist.  It is certainly attempting to emulate a more filmic look though to emulate the color response of film more so than typical video.

The second part of the process wasn't necessarily just applying a pre-made LUT, they could have done the secondary colour correction with other tools, such as you'd find in any colour grading app.

@stib indeed they could have, that's why the entire previous paragraph talks about some of those tools. My best guess from the look of it is that a color replacement took place ( possibly custom, possibly off the shelf) but the green to aqua shift is very well constrained relative to other shifts. To me, that indicates a high probability of a lut, but it doesn't have to be either.  That's why it was simply my best guess.


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Things to consider when shooting through car window at night?
I'm making a short film that takes place mostly in a car at night. Will i need a polarizer to see the actors through the windshield?

I strongly suggest not using polarizer in low light situations. It robs you of about two stops of light, which can be a problem (e.g. pushing you into impractically high ISO)

I'm making a short film that takes place mostly in a car at night. Will I need a polarizer to see the actors through the windshield?

A polarizer could help reduce reflections, but the best way to do such a shot if you desire no reflections is to shoot it in a way that there are no reflections to reduce. How you can best do this depends greatly on how you want the finished scene to look, particularly what angles you desire light to be illuminating your actors and the car's interior. One obvious solution would be to remove the windshield altogether.
Just because a scene takes place in a car at night doesn't mean you must shoot the scene at night - or even in an unmodified car.
Many of the tricks of the movie trade involve shooting in conditions that barely resemble the final look of the scene on screen. This was true in the film days just as it is true in the digital age. The use of green screens, CGI, etc. has expanded the possibilities of what can be done to footage after it is collected but the practice of using lighting and exposure to make a scene look different than it actually was when shot has been around almost as long as motion pictures have.
Most of those 'night' scenes you see in old westerns were shot in daylight with an 80B filter on the camera and the film underexposed by a couple of stops. So much so that the 80B and similar blue filters were nicknamed "American Midnight" filters in Europe.
More than a few scenes in films with characters in cars were shot with the windshields and other glass (or even parts of the car's roof) removed. Often such scenes could be shot with multiple sets (glassless stationary vehicle, moving intact vehicle, fabricated sets resembling parts of the interior of the car) and edited together in a way that made them appear seamless.

While a polarizer could reduce reflection, it can induce patterns on rear windshields. Happens all the time with my polarized sunglasses.
If you're shooting through the windshield of a stationary car, you could try to black out around the camera so that no light reflects off the inside of the windshield.

For more on the "black out around the camera" idea, see https://photo.stackexchange.com/questions/70181/whats-the-name-of-something-that-blocks-reflection-on-glass-in-front-of-a-camer/70195

Generally my approach to car shoots is to avoid shooting through windows whenever practically possible.  If the shot is stationary, it is possible to open car doors and shoot from far enough back.  As long as you don't get the actual frame of the car in the shot, it won't be noticeable that this is what you did.
If shooting through an open door isn't an option, shooting with a wide angle lens on a small stabilized camera (I generally use an Osmo.) can allow for a workable shot, again without having to shoot through glass.
If you absolutely have to shoot from the outside, using a window mount and putting a matte box around the camera to shut out other light sources is a good option for preventing the glass from interfering with the shot, but it is a pain to setup.
There are also strap on mounts that can hang outside of a window for a moving car shot where you need the camera located physically outside the vehicle but still want to be able to avoid having glass in the way.
Another trick when shooting a car at night is to light the scene.  Just because you want it to look dark doesn't mean it has to be dark.  When trying to shoot night time footage, I normally light the car from light placements that would make sense for a car, but with far higher intensity.  This allows for a well exposed image that I can artificially darken to produce the desired look.


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I'm trying to add guitar tabs to a music video, do you know any software to do it?
The question is how can I add guitar tabs to my video? Software?
I am recording a guitar performance and would like to add the guitar tabs for the students to follow.  I watched a Japanese video with a bottom part showing  a movie of how the fingers are placed. Please see below link.

Good question. I think it is more about video editing software than about music. Is there a stackexchange for that?

You are right Max, could be more about video editing software combined with tab editing software... kind of tricky,

Use you favorite graphics tool to create the tabs as JPEG files, then Premier Pro or Vegas pro (or your preferred editor) to edit the images together

Try to break your task into elementary blocks. If you can't solve the problem, break it into even smaller blocks.
Tabs? If which format? Maybe in form of MIDI files? Or even text on papers? Or in some form of txt files? It is a very important question. In some cases you must convert your tabs from one format to another.
What do you want add to the video? You can add only sequences of images or sounds, not "guitar tabs". You need draw some images first. For example, images with the fretboard and white circles on it.
If I had such a task, I would first convert the tabs into a form convenient for me. Then I would write a simple program that would draw pictures. This can be a C program, a Python script, or a script for 3ds max. Then I can use ffmpeg to assemble such images. And, as final task, I will use some software like Premiere or Final Cut to compose and sync my images with video.

The easiest way is to use an image editor to draw a picture of the tab. If you use a tool that allows layers, such as Photoshop, you can create a base layer with the image of the neck of the guitar, and then put the actual fret dots on higher layers. You can group the dots into folders for specific chords in specific positions. (For example, you might have a folder that contains all the dots for a-minor in one position, and another for all the dots for C-major in a different position.) Then you can easily turn on just the folder you need and export the image for use in your video.

Apparently Guitar player pro has a fretboard emulator along with a tab generator. So create your tab in GPP, generate the fretboard finger placements, export to video editing sofware and then its a case of synchronisation between the two.


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Minutes of video shot on Canon dslr
I was wondering if there was a way of identifying how many hours of video has been shot with my canon 70d? Maybe a 3rd party software someone can recommend. It would be much appreciated thanks.

To the best of my knowledge there is no way to determine how much time a Canon EOS camera has been used recording video because Canon cameras keep no record of total time recording video. If they do it is a very closely guarded secret.
Most Canon cameras do internally record each time the shutter is activated. It keeps a separate count for activations used to make still images using the viewfinder and for activations used to put the camera into Live View mode, whether for recording still images or video using Live View.
For many Canon EOS cameras the shutter count for still images using the viewfinder can be retrieved using tools based on the Canon Software Developer's Kit for specific models. For other models it is more difficult. In either case, the total number of activations reported does not include Live View shutter movements.
The internal count for shutter activations used to access Live View can only be retrieved by proprietary hardware/software available to Canon Service Centers and other Canon authorized service providers. When sending a camera to a Canon Service Center for cleaning or repair one can request a shutter count report that will include all shutter actuations in the camera's history (or, if the shutter has been replaced in the past, all actuations since the counter was reset to "zero" following the shutter replacement).
Since I can find no reference to - and have never heard of  - the option to have a report generated revealing the total video recording time for a Canon EOS camera one can probably conclude that such a capability is not built in to Canon EOS cameras.


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Losslessly convert from RGBA rawvideo to H.264
I am creating a tool that generates frames of RGBA video and pipes it to ffmpeg to create an .mp4 video. Here is the command that I give ffmpeg:
ffmpeg -y -f rawvideo -vcodec rawvideo -s 960x540 -pix_fmt rgba -r 60 -i -
-an -c:v libx264 -pix_fmt yuv420p -b:v 995328k vigeo_demo.mp4

However, the quality is very, very, poor. The video consists of around 2-px wide lines being drawn across the screen at various angles. The lines are very blurry and blocky. What could be the cause of this and how do I fix it?
Things I've tried:

-q:v 0
crf 1 (crf 0 gives me an error)

If CRF 0 doesn't run for you, share full log of that command.

You are downsampling the chroma, so thin lines will lose definition. Either use full chroma sampling
ffmpeg -y -f rawvideo -s 960x540 -pix_fmt rgba -framerate 60 -i -
       -c:v libx264 -pix_fmt yuv444p -crf 0 video_demo.mp4

or keep pixels as RGB.
ffmpeg -y -f rawvideo -s 960x540 -pix_fmt rgba -framerate 60 -i -
       -c:v libx264rgb -crf 0 video_demo.mp4


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Revert "Add edit" of the track, after CMD+K in Adobe Premiere CC 2017
Is there a way to revert "Add edit" on the track? When I press CMD+K on my track (audio or video), it will be split into two tracks. Sometimes I "Add edit" by mistake and realize it after few steps where press "Back" several times no best way and i want just connect together two pieces of the same track. Is it possible? For sure I can mark all pieces and combine them into group but i want have one whole track instead of organized group.

Are you trying to say that you can't use undo to remove the edit point? Or that you want to remove the edit point without undoing all your other actions?

On Windows:
Hold CTRL and right click the split itself. Then click "Join Through Edits".
Mac should be similar I guess.

on Mac use cmd. Or right-click on either platform. You can also select the join and hit delete.

Yes, it helped. Thank you guys. Still can't  join tracks which are not strict sequence, but think it is logically. But where end of one are begin of second joined good.


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Convert FFMPEG Waveform Back to audio
I'm trying to convert an audio file to an FFMPEG waveform, train it in HyperGAN, and produce an image file to convert to an audio file. What I'm asking is if there is a way to convert a waveform image back to an audio file without any loss of quality (basically, if you were to hash the original and the converted one, it would be the same hash), and if FFMPEG is the correct tool to use. Currently I have a batch script to go through all my audio files and convert them to images (ffmpeg.exe -i %1 -lavfi showwavespic=s=1024x800:colors=0971CE %1.png), but I can't convert them back to audio files, which defeats the purpose of what I'm doing.
EDIT: FFMPEG converts a 5mb audio file to a 32kb image, so I don't think it would convert back. Is there anyway to make it more detailed?

FFmpeg can't do this.
Even theoretically, the method seems unsound (no pun intended). Audios are typically sampled at 40K+ Hz per second. Max image dimension in ffmpeg is 65K. So even at that size, one can barely represent 1.5 seconds of audio at full sampling resolution. Once you go lower and rely on interpolation, your output quality will start to degrade, as your reconstruction gets coarser.

Thanks for the answer, but do you (or anyone else) know of a program that could do this?

Sounds like Photosounder may be able to do this.

Photosounder might work, though it isn't free and you cant automate it.

See spectrumsynth filter documentation. You will need to use showspectrum filter instead. And to have also phase video.
Using only showspectrumpic is not doable as it shrinks time resolution drastically.

I think the OP wants to externally manipulate a time-domain amplitude graph and reconvert it back to audio.

Ah, that one, yes you are correct. That one is not even possible, you loose resolution in both ways: time and amplitude domain.


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Live preview GoPro on Android
I'm using a GoPro Hero 4 black edition and a fyg4s hand held stabilizer.. in fyg4s I have the option to connect the GimBall to an analog monitor using a USB connector from GoPro (not an HDMI connector)...
My goal is to use my Android phone as live preview while I'm shooting the video. How do I connect my Android to GoPro to see what my GoPro captured using the USB connector passing through the fyg4s GimBall? Because the output cable from the GimBall looks like a 3.5 mm audio jack...

As the stabilizer got a USB female port things are lot easier. Let me break your question into these two:

In order to use your Android device as a live preview device you need a capture card.
To view what you captured from the camera, you need an application for that.

Re: GoPro Hero4 Black edition has Wi-Fi as in the specs though some cameras lack in Wi-Fi. If you have Wi-Fi you don't need the equipment, you just need the GoPro app on your phone, and it will show you the moments you captured.
Let me answer.

You need an OTG cable with a Capture card for live-streaming. You can refer to the link for purchasing the capture card. Check this link for the video.
There is no possible way to view what you have captured unless you are connected via Wi-Fi or via the USB to PC.

You can try out connecting the camera to the phone via the OTG cable, you need a USB Male-to-Male cable for that.
Recommended Answer: Use an FPV (First-person view) cable for live streaming, easy and fast. You can find all the info related to it here.
Hope this helps. Good day!


text:
Should I rather be shooting 1080/50i or 720/50p for 25fps web use?
The camera here is a Samsung HMX-Q10P (P likely stands for PAL: the N model would have 60fps instead).
The videos I upload usually are 25fps either way, but strictly speaking 1080/50i will never give me the odd lines when dropping every second frame, so I rely on the deinterlacing algorithm of my video editor (Shotcut in this case which may use ffmpeg or other stuff internally) to deliver reasonable content.
I've made a few attempts at fast moves of the camera shooting 1080/50i and I have not been able to see noticeable staircasing when creating 25fps output from that by reexporting from the video editor.  However, I am not sure how much quality deterioration the interpolation of the odd scanlines will cause.
So assuming the desire for best results, would I be better off shooting in 1080/50i or in 720/50p for videos without global movement (fixed mount, no zoom while shooting) and moderate local movement (close-captured single musician), and how would those considerations change given different material?

If you're mainly concerned about the staircasing, consider where the video will be watched. If interlaced video is shown on a display made for interlaced video, it appears ok. If you play it on a progressive display (such as a computer monitor) the staircasing is easily noticeable even for little horizontal movements (of the camera or of the subjects). For details see https://cardinalpeak.com/blog/interlaced-video-and-computer-monitors/
Best is if you never have to deal with interlaced video if possible.

Further to this answer: if you're worried about losing resolution, bear in mind that you will have to de-interlace for the web, a process which effectively destroys half of your vertical resolution. Since you're delivering to the web, 720p is probably going to result in higher quality video on the viewer's screens.


text:
concat files with ffmpeg and preserve exact frame timestamps
I'm doing this to add a keyframe at 00:00:14.0000
1. ffmpeg -i trailer.mp4 -to 13.92 -copyts -c copy first-bun.mp4

2. ffmpeg -ss 14 -i trailer.mp4 -to 15 -video_track_timescale 90000 -copyts bun.mp4

3. ffmpeg -ss 16 -i trailer.mp4 -copyts -c copy third-bun.mp4

4.  create text file
        file 'first-bun.mp4'
        file 'bun.mp4'
        file 'third-bun.mp4'

5.  ffmpeg -f concat -i concat.txt -c copy trailer-keyframed.mp4

This works, and the resulting file plays without a visible hitch, however, when I inspect the frames of the final output file to see if my keyframe is at the place where I expect it to be, I see that the keyframe is actually at 14.022 instead of 14.
        "media_type": "video",
        "stream_index": 0,
        "key_frame": 1,
        "pkt_pts": 1261980,
        "pkt_pts_time": "14.022000",
        "pkt_dts": 1261980,
        "pkt_dts_time": "14.022000",
        "best_effort_timestamp": 1261980,
        "best_effort_timestamp_time": "14.022000",

Further, there is no frame at 14, but rather at 13.96 and 14.04
Inspecting bun.mp4, I see a keyframe at 14, as I expect:
        "media_type": "video",
        "stream_index": 0,
        "key_frame": 1,
        "pkt_pts": 1260000,
        "pkt_pts_time": "14.000000",
        "pkt_dts": 1260000,
        "pkt_dts_time": "14.000000",
        "best_effort_timestamp": 1260000,
        "best_effort_timestamp_time": "14.000000",

Further inspecting the frames reveals that:

first-bun.mp4 goes from 0 to 13.96
bun.mp4 goes from 14 to 14.96
third-bun.mp4 goes from 15 to the end.

An inspection of the original trailer.mp4 shows that there are no frames between 13.96 and 14, nor are there frames between 14.96 and 15.
Where is this adjustment coming from, and how can I prevent it?
full output of all commands:
https://pastebin.com/10Zcdh4P

Skip audio during extraction and concat. Add it only at the end.

@Mulvya That worked. Can you post that as an answer?

Audio codecs like AAC or MP3 have a priming sample before the first audio sample. The priming sample has a negative timestamp. For a 48 kHz stream, the timestamp will be -1024/48000 s = -0.0213s. What the concat demuxer does is add an offset to the timestamps of all files after the first one. The priming sample created in step 2 is affecting the timestamp post-offset.
If you skip audio during extraction and concat, and add it only at the end, you can avoid that.


text:
ffmpeg concat duplicating single frame
I'm cutting a file into two parts, and concatenating them together, but certain frames around the boundary of the two files appear out of order, like this:

clip 1: [..12,13,14]
  clip 2: [15,16,17...]
  clip 3: [...13,15,14,15,16,17... ]

Why does this happen and how can I stop this?
ffmpeg version N-90649-g9825f77ac7
File:  https://nofile.io/f/8gC27TobzyX/trailer.mp4
Commands:
ffmpeg -i trailer.mp4 -to 13.92  -an -copyts -c copy first-bun.mp4
ffmpeg -ss 14 -i trailer.mp4 -to 15 -an -video_track_timescale 90000 -copyts bun.mp4
ffmpeg -f concat -i concat.txt -c copy -copyts trailer-keyframed.mp4

where concat.txt is
file 'first-bun.mp4'
file 'bun.mp4'

inspecting the frames with:
ffprobe -of json -select_streams v -show_frames [input]

Gives me, for the last frame of first-bun.mp4:
        {
            "media_type": "video",
            "stream_index": 0,
            "key_frame": 0,
            "pkt_pts": 1256400,
            "pkt_pts_time": "13.960000",
            "best_effort_timestamp": 1256400,
            "best_effort_timestamp_time": "13.960000",
            "pkt_duration": 3600,
            "pkt_duration_time": "0.040000",
            "pkt_pos": "4821742",
            "pkt_size": "1074",
            "width": 1920,
            "height": 1080,
            "pix_fmt": "yuv420p",
            "sample_aspect_ratio": "1:1",
            "pict_type": "B",
            "coded_picture_number": 349,
            "display_picture_number": 0,
            "interlaced_frame": 0,
            "top_field_first": 0,
            "repeat_pict": 0,
            "color_range": "tv",
            "color_space": "smpte170m",
            "color_primaries": "bt470bg",
            "color_transfer": "bt709",
            "chroma_location": "left"
        }
    ]
}

And for the first few frames of bun.mp4:
{
    "frames": [
        {
            "media_type": "video",
            "stream_index": 0,
            "key_frame": 1,
            "pkt_pts": 1260000,
            "pkt_pts_time": "14.000000",
            "pkt_dts": 1260000,
            "pkt_dts_time": "14.000000",
            "best_effort_timestamp": 1260000,
            "best_effort_timestamp_time": "14.000000",
            "pkt_duration": 3600,
            "pkt_duration_time": "0.040000",
            "pkt_pos": "48",
            "pkt_size": "163733",
            "width": 1920,
            "height": 1080,
            "pix_fmt": "yuv420p",
            "sample_aspect_ratio": "1:1",
            "pict_type": "I",
            "coded_picture_number": 0,
            "display_picture_number": 0,
            "interlaced_frame": 0,
            "top_field_first": 0,
            "repeat_pict": 0,
            "chroma_location": "left"
        },
        {
            "media_type": "video",
            "stream_index": 0,
            "key_frame": 0,
            "pkt_pts": 1263600,
            "pkt_pts_time": "14.040000",
            "pkt_dts": 1263600,
            "pkt_dts_time": "14.040000",
            "best_effort_timestamp": 1263600,
            "best_effort_timestamp_time": "14.040000",
            "pkt_duration": 3600,
            "pkt_duration_time": "0.040000",
            "pkt_pos": "163781",
            "pkt_size": "5015",
            "width": 1920,
            "height": 1080,
            "pix_fmt": "yuv420p",
            "sample_aspect_ratio": "1:1",
            "pict_type": "P",
            "coded_picture_number": 1,
            "display_picture_number": 0,
            "interlaced_frame": 0,
            "top_field_first": 0,
            "repeat_pict": 0,
            "chroma_location": "left"
        },
        {
            "media_type": "video",
            "stream_index": 0,
            "key_frame": 0,
            "pkt_pts": 1267200,
            "pkt_pts_time": "14.080000",
            "pkt_dts": 1267200,
            "pkt_dts_time": "14.080000",
            "best_effort_timestamp": 1267200,
            "best_effort_timestamp_time": "14.080000",
            "pkt_duration": 3600,
            "pkt_duration_time": "0.040000",
            "pkt_pos": "168796",
            "pkt_size": "3639",
            "width": 1920,
            "height": 1080,
            "pix_fmt": "yuv420p",
            "sample_aspect_ratio": "1:1",
            "pict_type": "P",
            "coded_picture_number": 2,
            "display_picture_number": 0,
            "interlaced_frame": 0,
            "top_field_first": 0,
            "repeat_pict": 0,
            "chroma_location": "left"
        },

However, in the output file: trailer-keyframed.mp4, I see this around the point of concatenation:
UPDATE: now with show_packets
    {
        "type": "packet",
        "codec_type": "video",
        "stream_index": 0,
        "pts": 1263600,
        "pts_time": "14.040000",
        "dts": 1256400,
        "dts_time": "13.960000",
        "duration": 3600,
        "duration_time": "0.040000",
        "size": "5015",
        "pos": "4986758",
        "flags": "__"
    },
    {
        "type": "frame",
        "media_type": "video",
        "stream_index": 0,
        "key_frame": 0,
        "pkt_pts": 1263600,
        "pkt_pts_time": "14.040000",
        "pkt_dts": 1256400,
        "pkt_dts_time": "13.960000",
        "best_effort_timestamp": 1263600,
        "best_effort_timestamp_time": "14.040000",
        "pkt_duration": 3600,
        "pkt_duration_time": "0.040000",
        "pkt_pos": "4809688",
        "pkt_size": "12222",
        "width": 1920,
        "height": 1080,
        "pix_fmt": "yuv420p",
        "sample_aspect_ratio": "1:1",
        "pict_type": "P",
        "coded_picture_number": 348,
        "display_picture_number": 0,
        "interlaced_frame": 0,
        "top_field_first": 0,
        "repeat_pict": 0,
        "color_range": "tv",
        "color_space": "smpte170m",
        "color_primaries": "bt470bg",
        "color_transfer": "bt709",
        "chroma_location": "left"
    },
    {
        "type": "packet",
        "codec_type": "video",
        "stream_index": 0,
        "pts": 1267200,
        "pts_time": "14.080000",
        "dts": 1260000,
        "dts_time": "14.000000",
        "duration": 3600,
        "duration_time": "0.040000",
        "size": "3639",
        "pos": "4991773",
        "flags": "__"
    },
    {
        "type": "frame",
        "media_type": "video",
        "stream_index": 0,
        "key_frame": 1,
        "pkt_pts": 1260000,
        "pkt_pts_time": "14.000000",
        "pkt_dts": 1260000,
        "pkt_dts_time": "14.000000",
        "best_effort_timestamp": 1260000,
        "best_effort_timestamp_time": "14.000000",
        "pkt_duration": 3600,
        "pkt_duration_time": "0.040000",
        "pkt_pos": "4822984",
        "pkt_size": "163774",
        "width": 1920,
        "height": 1080,
        "pix_fmt": "yuv420p",
        "sample_aspect_ratio": "1:1",
        "pict_type": "I",
        "coded_picture_number": 350,
        "display_picture_number": 0,
        "interlaced_frame": 0,
        "top_field_first": 0,
        "repeat_pict": 0,
        "color_range": "tv",
        "color_space": "smpte170m",
        "color_primaries": "bt470bg",
        "color_transfer": "bt709",
        "chroma_location": "left"
    },
    {
        "type": "packet",
        "codec_type": "video",
        "stream_index": 0,
        "pts": 1270800,
        "pts_time": "14.120000",
        "dts": 1263600,
        "dts_time": "14.040000",
        "duration": 3600,
        "duration_time": "0.040000",
        "size": "2865",
        "pos": "4995412",
        "flags": "__"
    },
    {
        "type": "frame",
        "media_type": "video",
        "stream_index": 0,
        "key_frame": 0,
        "pkt_pts": 1263600,
        "pkt_pts_time": "14.040000",
        "pkt_dts": 1263600,
        "pkt_dts_time": "14.040000",
        "best_effort_timestamp": 1263600,
        "best_effort_timestamp_time": "14.040000",
        "pkt_duration": 3600,
        "pkt_duration_time": "0.040000",
        "pkt_pos": "4986758",
        "pkt_size": "5015",
        "width": 1920,
        "height": 1080,
        "pix_fmt": "yuv420p",
        "sample_aspect_ratio": "1:1",
        "pict_type": "P",
        "coded_picture_number": 351,
        "display_picture_number": 0,
        "interlaced_frame": 0,
        "top_field_first": 0,
        "repeat_pict": 0,
        "color_range": "tv",
        "color_space": "smpte170m",
        "color_primaries": "bt470bg",
        "color_transfer": "bt709",
        "chroma_location": "left"
    },
    {
        "type": "packet",
        "codec_type": "video",
        "stream_index": 0,
        "pts": 1285200,
        "pts_time": "14.280000",
        "dts": 1267200,
        "dts_time": "14.080000",
        "duration": 3600,
        "duration_time": "0.040000",
        "size": "8918",
        "pos": "4998277",
        "flags": "__"
    },
    {
        "type": "frame",
        "media_type": "video",
        "stream_index": 0,
        "key_frame": 0,
        "pkt_pts": 1267200,
        "pkt_pts_time": "14.080000",
        "pkt_dts": 1267200,
        "pkt_dts_time": "14.080000",
        "best_effort_timestamp": 1267200,
        "best_effort_timestamp_time": "14.080000",
        "pkt_duration": 3600,
        "pkt_duration_time": "0.040000",
        "pkt_pos": "4991773",
        "pkt_size": "3639",
        "width": 1920,
        "height": 1080,
        "pix_fmt": "yuv420p",
        "sample_aspect_ratio": "1:1",
        "pict_type": "P",
        "coded_picture_number": 352,
        "display_picture_number": 0,
        "interlaced_frame": 0,
        "top_field_first": 0,
        "repeat_pict": 0,
        "color_range": "tv",
        "color_space": "smpte170m",
        "color_primaries": "bt470bg",
        "color_transfer": "bt709",
        "chroma_location": "left"
    },

output of the concat command
ffmpeg -f concat -i concat.txt -c copy -copyts trailer-keyframed.mp4
ffmpeg version N-90649-g9825f77ac7 Copyright (c) 2000-2018 the FFmpeg developers
  built with gcc 7.3.0 (GCC)
  configuration: --enable-gpl --enable-version3 --enable-sdl2 --enable-bzlib --enable-fontconfig --enable-gnutls --enable-iconv --enable-libass --enable-libbluray --enable-libfreetype --enable-libmp3lame --enable-libopencore-amrnb --enable-libopencore-amrwb --enable-libopenjpeg --enable-libopus --enable-libshine --enable-libsnappy --enable-libsoxr --enable-libtheora --enable-libtwolame --enable-libvpx --enable-libwavpack --enable-libwebp --enable-libx264 --enable-libx265 --enable-libxml2 --enable-libzimg --enable-lzma --enable-zlib --enable-gmp --enable-libvidstab --enable-libvorbis --enable-libvo-amrwbenc --enable-libmysofa --enable-libspeex --enable-libxvid --enable-libaom --enable-libmfx --enable-amf --enable-ffnvcodec --enable-cuvid --enable-d3d11va --enable-nvenc --enable-nvdec --enable-dxva2 --enable-avisynth
  libavutil      56. 13.100 / 56. 13.100
  libavcodec     58. 17.100 / 58. 17.100
  libavformat    58. 11.101 / 58. 11.101
  libavdevice    58.  2.100 / 58.  2.100
  libavfilter     7. 14.100 /  7. 14.100
  libswscale      5.  0.102 /  5.  0.102
  libswresample   3.  0.101 /  3.  0.101
  libpostproc    55.  0.100 / 55.  0.100
[mov,mp4,m4a,3gp,3g2,mj2 @ 000001ceada64880] Auto-inserting h264_mp4toannexb bitstream filter
Input #0, concat, from 'concat.txt':
  Duration: N/A, start: 0.000000, bitrate: 2755 kb/s
    Stream #0:0(und): Video: h264 (Main) (avc1 / 0x31637661), yuv420p(tv, smpte170m/bt470bg/bt709), 1920x1080 [SAR 1:1 DAR 16:9], 2755 kb/s, 25 fps, 25 tbr, 90k tbn, 180k tbc
    Metadata:
      handler_name    : VideoHandler
Output #0, mp4, to 'trailer-keyframed.mp4':
  Metadata:
    encoder         : Lavf58.11.101
    Stream #0:0(und): Video: h264 (Main) (avc1 / 0x31637661), yuv420p(tv, smpte170m/bt470bg/bt709), 1920x1080 [SAR 1:1 DAR 16:9], q=2-31, 2755 kb/s, 25 fps, 25 tbr, 90k tbn, 90k tbc
    Metadata:
      handler_name    : VideoHandler
Stream mapping:
  Stream #0:0 -> #0:0 (copy)
Press [q] to stop, [?] for help
[mov,mp4,m4a,3gp,3g2,mj2 @ 000001ceada6d0c0] Auto-inserting h264_mp4toannexb bitstream filter
frame=  375 fps=0.0 q=-1.0 Lsize=    4959kB time=00:00:14.88 bitrate=2730.1kbits/s speed= 476x
video:4954kB audio:0kB subtitle:0kB other streams:0kB global headers:0kB muxing overhead: 0.106020%

Frame 15 isn't repeated. During streamcopy, ffmpeg has no ability to duplicate or drop frames from the middle of a stream.
Check these details of the relevant frames
    "pkt_pts_time": "13.960000",
    "pkt_pos": "4821910",
    "pkt_size": "1074",
    "pict_type": "B",
    "coded_picture_number": 349,

    "pkt_pts_time": "14.040000",
    "pkt_pos": "4809688",
    "pkt_size": "12222",
    "pict_type": "P",
    "coded_picture_number": 348,

    "pkt_pts_time": "14.000000",
    "pkt_pos": "4822984",
    "pkt_size": "163774",
    "pict_type": "I",
    "coded_picture_number": 350,

    "pkt_pts_time": "14.040000",
    "pkt_pos": "4986758",
    "pkt_size": "5015",
    "pict_type": "P",
    "coded_picture_number": 351,

    "pkt_pts_time": "14.080000",
    "pkt_pos": "4991773",
    "pkt_size": "3639",
    "pict_type": "P",
    "coded_picture_number": 352,

Note the coded_picture_number and byte position. The 2nd frame is a P frame needed for the decoding of the first frame, a B-frame, but it won't be displayed itself. If you do a show_packets, you should see a discard flag for that 2nd frame (_D)

Is there really no error here? When I attempt to playback my output file frame-by-frame in VLC, I get a EOF reached message at this timestamp , and cannot step past this frame.  When I do the same in WMP, I can see that a frame actually has been duplicated, or at least, that's how it's rendered. When I step through the input file, this frame does not appear twice.

I did a show_packets on the output, and do not see a discard flag for the first 14.04 frame.

That's a probliem. Let me see if discard flags can be set on individual packets. Else you have to see that you only encode whole GOPs from the source file.

I followed your suggestion and made sure that I was only splitting at GOP boundaries and this solved my problem. Everything is in order now, and there are no errors. If you want to post that as another answer, or edit this one to include this information, I'll accept it


text:
ffmpeg hls creation overwriting master manifest
I have a video I'd like to convert to HLS, however, when I run the command, it only records the last few segments to the master manifest. How can I get all of the fragments and their associated data into the same manifest?
Output manifest:
#EXTM3U
#EXT-X-VERSION:3
#EXT-X-TARGETDURATION:7
#EXT-X-MEDIA-SEQUENCE:16
#EXTINF:4.800000,
out-316.ts
#EXTINF:7.000000,
out-317.ts
#EXTINF:4.800000,
out-318.ts
#EXTINF:6.360000,
out-319.ts
#EXTINF:1.920000,
out-320.ts
#EXT-X-ENDLIST

Command and output:
$ ffmpeg -i segment-3.mp4 -c copy -copyts -hls_time 6 out-3.m3u8
ffmpeg version N-90649-g9825f77ac7 Copyright (c) 2000-2018 the FFmpeg developers
  built with gcc 7.3.0 (GCC)
  configuration: --enable-gpl --enable-version3 --enable-sdl2 --enable-bzlib --enable-fontconfig --enable-gnutls --enable-iconv --enable-libass --enable-libbluray --enable-libfreetype --enable-libmp3lame --enable-libopencore-amrnb --enable-libopencore-amrwb --enable-libopenjpeg --enable-libopus --enable-libshine --enable-libsnappy --enable-libsoxr --enable-libtheora --enable-libtwolame --enable-libvpx --enable-libwavpack --enable-libwebp --enable-libx264 --enable-libx265 --enable-libxml2 --enable-libzimg --enable-lzma --enable-zlib --enable-gmp --enable-libvidstab --enable-libvorbis --enable-libvo-amrwbenc --enable-libmysofa --enable-libspeex --enable-libxvid --enable-libaom --enable-libmfx --enable-amf --enable-ffnvcodec --enable-cuvid --enable-d3d11va --enable-nvenc --enable-nvdec --enable-dxva2 --enable-avisynth
  libavutil      56. 13.100 / 56. 13.100
  libavcodec     58. 17.100 / 58. 17.100
  libavformat    58. 11.101 / 58. 11.101
  libavdevice    58.  2.100 / 58.  2.100
  libavfilter     7. 14.100 /  7. 14.100
  libswscale      5.  0.102 /  5.  0.102
  libswresample   3.  0.101 /  3.  0.101
  libpostproc    55.  0.100 / 55.  0.100
Input #0, mov,mp4,m4a,3gp,3g2,mj2, from 'segment-3.mp4':
  Metadata:
    major_brand     : isom
    minor_version   : 512
    compatible_brands: isomiso2avc1mp41
    encoder         : Lavf58.11.101
  Duration: 00:02:03.18, start: 39.915011, bitrate: 188 kb/s
    Stream #0:0(und): Video: h264 (High) (avc1 / 0x31637661), yuv420p, 320x240 [SAR 1:1 DAR 4:3], 111 kb/s, 24.98 fps, 25 tbr, 12800 tbn, 50 tbc (default)
    Metadata:
      handler_name    : VideoHandler
    Stream #0:1(und): Audio: aac (LC) (mp4a / 0x6134706D), 44100 Hz, mono, fltp, 72 kb/s (default)
    Metadata:
      handler_name    : SoundHandler
[hls @ 0000028f6faf5380] Opening 'out-30.ts' for writing
Output #0, hls, to 'out-3.m3u8':
  Metadata:
    major_brand     : isom
    minor_version   : 512
    compatible_brands: isomiso2avc1mp41
    encoder         : Lavf58.11.101
    Stream #0:0(und): Video: h264 (High) (avc1 / 0x31637661), yuv420p, 320x240 [SAR 1:1 DAR 4:3], q=2-31, 111 kb/s, 24.98 fps, 25 tbr, 90k tbn, 25 tbc (default)
    Metadata:
      handler_name    : VideoHandler
    Stream #0:1(und): Audio: aac (LC) (mp4a / 0x6134706D), 44100 Hz, mono, fltp, 72 kb/s (default)
    Metadata:
      handler_name    : SoundHandler
Stream mapping:
  Stream #0:0 -> #0:0 (copy)
  Stream #0:1 -> #0:1 (copy)
Press [q] to stop, [?] for help
[hls @ 0000028f6faf5380] Opening 'out-31.ts' for writing
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[hls @ 0000028f6faf5380] Opening 'out-3.m3u8.tmp' for writing
frame= 3076 fps=0.0 q=-1.0 Lsize=N/A time=00:02:43.07 bitrate=N/A speed= 696x
video:1674kB audio:1083kB subtitle:0kB other streams:0kB global headers:0kB muxing overhead: unknown

Add -hls_playlist_type vod to the output parameters.
Doing this will write all the fragments to the same manifest, as well as add a
#EXT-X-PLAYLIST-TYPE:VOD tag to the manifest.
You can also do -hls_list_size 0. The default for this is 5, which means the output manifest will contain up to 5 segments by default. Setting it to 0 will tell ffmpeg to contain all the fragments


text:
Why is there a need to render the video if live playback is flawless?
Live playback is almost fully flawless. Software like OBS can do transitions and greenscreen / chroma key effects live, without the need of rendering. So it would make sence if "rendering" would at least be as fast as realtime video playback is.
I do understand that videos produced with rendering are not compressed (are they?), but it's very hard to see the compression on the video, especially if video sharing sites like YouTube also compress the video. It would make sence in this case as well to have an option to export the video without rendering.

I did not want to put this in the question itself, but probably this question have been asked already, if not I would be suprised, but I couldn't find any question related to this with my keyword searches.

It isn't really clear what you are asking. Do you want to know why some software has a slower than real-time rendering process while other software is able to manipulate live video with no (noticeable) delay?

When you export a movie from a video editing software, there are, broadly speaking, three steps involved.

Rendering: reading each frame from source media and applying assigned effects to each individual clip. Compositing all tracks to form a final image. This part happens during live playback as well. However, most software will use faster and cruder methods during live playback, depending on hardware capabilities. So, the results may not be mathematically equivalent. But the average viewer may not notice the difference.
Encoding: This is the compression part. One or more rendered frames are fed to the encoder, which then performs motion estimation and other methods to identify exploitable redundancies. Using that information, the encoder generates an encoded bitstream. This part, depending on the encoder chosen, takes significant CPU time.
Writing: The encoded bitstream is then written to disk. If the frame sizes achieved in step 2 are small enough, then this constitutes a minor portion of the export process. But if not, disk I/O can add delay. This will usually be the case if step 2 is skipped and uncompressed frames are written to the file on disk.

During live playback, steps 2 and 3 are skipped. The rendered frames are stored in RAM and played from there. If the buffer overflows, earliest rendered frames are dropped, and re-rendered if requested. So, the difference in duration between live playback and render to disk is due to the better methods used in step 1 and the addition of steps 2 and 3.

If should be noted that there is software that is able to stream live video to CDNs (thus adding the encoding step) and also simultaneously record (almost) uncompressed video on disk (step 3)

@MatteoContrini I was just about to comment that, for example, OBS can do greenscreen effects when writing video to disk as well.

I think the main difference is that live production software is specifically written and optimized for doing everything live, even at the cost of dropping frames or lagging a bit, if you're asking too much to the software. Video editing/rendering is instead optimized for generating an output of flawless quality no matter what resources are needed

My team live webcasts and records church services weekly using a hardware mixing solution (BM ATEM 1 M/E). The live stream goes out immediately, where it is buffered, re-rendered, re-encoded, and written to cloud storage by our live stream provider. You don't skip the steps 2 and 3 in @Mulvya 's answer, you merely delegate them to your live stream vendor.
The live stream is actually reduced quality because it is re-encoded from 1040p to 720p, and is subject to dropped frames and the vagaries of the internet.
After recording, a 40 minute sermon's raw footage is roughly 200 GB in size. We edit the recording to polish the presentation, hide production errors, remove dead space, and ensure copyright/license compliance, then render the edited presentation for archival and delivery on YouTube.
For special occasions, we will add several offline cameras to the mix, and up to 25% of the final rendered video will be from footage that was not part of the live webcast, often footage that was taken during dress rehearsals that would not be possible during the live presentation.


text:
How are motion graphics like this created?
A few days ago i was browsing a forum, and I came across this person's signature which was underneath their comment. I contacted them a few days ago because I was interested in how this sort of motion graphic was create but I had no response due to me only realising that they had been offline for over 2 years. I couldn't find out anything about them. But I wondered if anyone knew what I might have to search to find out how I would make this? Or if any of you knew how/what software is required to do it? I have after effects along with other adobe products but I doubt it's the only thing required.
Thanks in advance,
David

Totally doable using After Effects as it comes out of the box.
I'd be making each letter a separate layer, turning that layer into a matte for the colour, which would be provided by the gradient ramp effect (there's a subtle red-purple gradient in the letters). The reveal would be done by either making an animated mask to control the moving colour, or the stroke effect with the brush size large enough to fill the strokes of the letters.
3D extrusion is done with the built-in 3D extrusion in the ray-traced 3d renderer. You'd have to pre-comp the coloured layer probably ifyou're using track mattes etc.
The movement would be a combination of keyframes and the wiggle expression.
There are probably a dozen more ways to do something like this–this is true for anything in AE.