Is it possible to install the Quicktime backend without getting the frontend? Let's say, hypothetically, you really dislike Quicktime player and would rather not have it on your computer.  However, for a little project you decide you want to use Lightworks.  Upon installation, Lightworks says it needs QT7.7.  I'm assuming some thing here based on prior experience with video types and it is my guess that the Quicktime player is not what Lightworks needs, but rather some codecs that are included when you install QT.  Please forgive me if my wording is wrong, totally new to most of this.

The actual question: Can I make Lightworks work with some kind of alternative install and not have Quicktime player on my computer?

Sadly there isn't really an alternative, many dll's coming with QuickTime are needed by programs like LightWorks or Premiere and After Effects.
You can probably delete a portion of the QuickTime installation but in the end why bother?
Just don't let it take over any of the file associations and disable the auto-updater so it doesn't nag you whenever there is an update to QuickTime or any other Apple product. Then it wont bother you in any way. You can also delete any icons and start menu entries if you dislike those aswell.

Though generally its advised to have QuickTime installed when working with video even if your tools don't need it. Its a widely used player in the Apple Ecosystem and the .mov format is still very popular in video production even on Windows. While you don't need quicktime to check .mov files it's the most reliable solution there is.


Evolving lines with mirror effect I would like to create evolving lines similar to those in this sequence (starting at 0:28):

I know how to reveal lines, but I struggle to make the line moving so smoothly while continuously increasing its width (narrow at the tip and slowly widening).

Could you please give me some tips on how to do this in After Effects? Thanks!

Try to use 3d Stroke.

The taper parameter should help you.


Poor and low quality on import/render Adobe Premiere I record a video step-by-step using Microsoft Expression Encoder 4, encode the file with 'Best Quality' preset, the result info in file its:

ID                                       : 2
Format                                   : VC-1
Format profile                           : Advanced@L3
Codec ID                                 : WVC1
Codec ID/Hint                            : Microsoft
Description of the codec                 : VC-1 - VC-1 Advanced Profile
Duration                                 : 8mn 43s
Bit rate mode                            : Constant
Bit rate                                 : 1 045 Kbps
Width                                    : 1 440 pixels
Height                                   : 900 pixels
Display aspect ratio                     : 16:10
Frame rate mode                          : Variable
Frame rate                               : 15.000 fps
Color space                              : YUV
Chroma subsampling                       : 4:2:0
Bit depth                                : 8 bits
Scan type                                : Progressive
Compression mode                         : Lossy
Bits/(Pixel*Frame)                       : 0.054
Stream size                              : 65.2 MiB

When I play the video in VLC the quality its perfect.

After import the video in premiere and export sequence the video loss quality.

The printscreen above its the quality of exported video.

ID                                       : 1
Format                                   : AVC
Format/Info                              : Advanced Video Codec
Format profile                           : Main@L5.0
Format settings, CABAC                   : Yes
Format settings, ReFrames                : 3 frames
Codec ID                                 : avc1
Codec ID/Info                            : Advanced Video Coding
Duration                                 : 5mn 53s
Bit rate                                 : 1 708 Kbps
Width                                    : 1 440 pixels
Height                                   : 900 pixels
Display aspect ratio                     : 16:10
Original display aspect ratio            : 16:9
Frame rate mode                          : Constant
Frame rate                               : 15.000 fps
Standard                                 : NTSC
Color space                              : YUV
Chroma subsampling                       : 4:2:0
Bit depth                                : 8 bits
Scan type                                : Progressive
Bits/(Pixel*Frame)                       : 0.088
Stream size                              : 72.0 MiB (90%)

When activating the option to export in Premiere , I have customized with the maximum possible quality.

Exporting in Adobe Premiere , using the same or better quality to the source video that was imported ?

Thank you all,

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

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


How do I resize the canvas of a image layer in After Effects? I'm using After Effects CC 2017. I've imported a PNG image with transparency, then I added a simple CC Light Wipe effect:

The problem is that the range of the lights produced by this effect are limited to the image size, so it produces an annonying thingy. Is there a way to resize the canvas of the layer of the image or another way to solve this (avoiding the need to resize the image canvas using external programs like Photoshop)?.

I really tried to find out the answer researching in Google before asking here but I only found questions about resizing the entire compossition in the compossition settings...

Add an adjustment layer on top (right-click in empty area of the layer names. Go to New menu) Apply the effect to that.


motion effects missing from adobe premiere elements 10 I'm a new user to Premiere Elements 10.

I want to rotate a video.

However, the motion effect is not present in the effects panel.

I have only recently installed Elements.

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


Split video or export keynote slides separately I have a problem I am struggling for 2 days. Maybe someone can give me some light.
I made a huge keynote presentation (100 slides), with videos and animations. I expected to have one small exported video for each slide.  It seemed a good idea at first, but now I see I cannot export each slide separated automatically. So I tried to export all slides with the same timing in Keynote and then split in equal parts using ffmpeg, but keynote does not export the video with exact timing between slides. Then I advanced a little and tried to detect scene changes using ffmpeg (which I did and got a list of timestamps), but when splitting with ffmpeg the keyframeimage is never on the first frame making the videos unusable. Now I was searching for a solution using Mac automate, but it seems it does not have the right Keynote functions... I know that doing it manually would work, but exporting in keynote is slow and it would take hours, and maybe I will have to edit all the slides and export again. I have most of the professional video tools (final cut pro and adobe premiere/after effects.

I think your best bet for splitting the video is going to be to manually razor it in a video editor of your choice.  You can then either use a clip exporter in the editing tool if it has it or export an EDL and use that with something like ffmpeg to do the splitting for you.


filming iridescent liquid or effect I am going to shoot a music video where i want to have a iridescent effect.
I could shoot a liquid with iridescent effect and then use it as background for the scene using green screen.
But... how to do that??
Any ideas on lighting or somebody that have done this before?
Thank you.
Luca

What you are asking is not quite clear, but if you want to have the colored liquids in front of your people, just add the video on top of the main video, and just change the opacity of the colored liquids. If you want the iridescent liquids behind your people, shoot the main video in front of a green screen with fairly good lighting, then add the colored liquid in after, utilizing the green screen.

Hope this helps!


video lighting output levels I am a long time still photographer beginning to work in video. I understand lighting pretty well, but what i am having trouble getting a hold of is the output level (wattage?) I will need for shooting various projects.

For the most part, I am looking only to light smaller 'sets'. What I am faced with is figuring out how to gauge continuous lighting rigs so that I am not having to return items a few times.

I have a small group of 5 or 6 people in a setting (couch and a few chairs) which I am shooting from a couple of fixed points about 5 or 6 feet from the subjects and a main shot from 10 or 12 feet away.  I need to keep the lighting out of the frame for the main camera.

For a single key light, what kind of output would i need in order to achieve 'ordinary' video set lighting (ordinary meaning: not dramatic or artistic, just an 'expected' interview lighting level?

You're going to need to do a little experimentation to find out what works best for you, but here are a few things to consider:

First, the minimum amount of light you need depends on the performance of your camera and lens.  Stanley Kubrick shot parts of Barry Lyndon in candle light, but he used a f0.7 Zeiss prime which was built for NASA and customized to his specification.

Second, light falls off as a function of an inverse square.  So it really matters how close you can get your light to your talent.  A light that's 22 feet from its subject will appear twice as bright when placed 16 feet from the subject.  This doubling occurs at distance intervals which you'll be familiar with as a photographer:  22, 16, 11, 8, 5.6, 4, 2.8, 2, 1.4, 1.

Of course, you probably don't want to put a 1K HMI right next to your subject because he or she might melt or catch fire.  This brings me to my third point:

Not all lights are created equal.  Day by day, more efficient lights are available for film and video.  LEDs, fluorescents, and plasma now come in a variety of form factors.  These efficient lights are particularly useful because they can be placed close to your talent, without generating too much heat.  However, if you choose one of these kinds of lights, be sure to evaluate its color accuracy (color rendition index or CRI).  Tungsten lights output full-spectrum, 100 CRI.  Cheap fluorescents are notorious for having a greenish tinge.  The problem with poor color accuracy is that it's nearly impossible to fix.  A simple white balance won't work.

Lastly, since you're talking about shooting interviews, you probably want your key light to be soft, so that it's more flattering.  LED panels or Kinos are great soft light sources, but the price you pay is versatility.  A hard source can be made soft (through diffusion or reflection), but a soft light can't be made hard.

Personally, if all I were looking for was a key light for a medium to close-up shot in an interview situation, I'd be prepared to spend around $1500 on a 2bank Kino fixture, bulbs, mount, extension cord, ballast, and c-stand.  [edit] But now that I re-read your question and see that you're talking about lighting 5-6 people, I'd probably expect to spend closer to $4000.  We just spent $6k on lights, giving us the capacity to strike 22 4'bulbs at once.  I think this would be slight overkill for your situation.

A more objective answer might be that, according to Wikipedia, 1000 lux is typical for studio lighting.  ARRI has a handy calculator to give you an idea of what you need to get your scene to this level.


Import Adobe Premiere Proxy files encoded separately with FFmpeg I'm trying to work with a bunch (hundreds) of 4k HEVC video clips, and so far it seems like my laptop is a bit too slow to edit them effectively. I have read guides that talk about ingesting proxy files, which is great but involves running Adobe Media encoder on my macbook.

Ideally I don't want to do any proxy file encoding on my macbook since it slows down my laptop too much. I want to create the proxy files on a separate unix server using ffmpeg, then copy them onto my laptop when they're done. Is this possible?

It appears that you can attach proxies later in Premiere by right clicking on your source files and going to the Proxy > Attach Proxies menu. In there, clicking attach brings up a file dialog to get the proxy files.


Is it possible to create keyboard shortcuts for applying MULTIPLE/DIFFERENT effects? I already know you can press Option-E to apply the default Effect.  However... is there any way to have different keyboard shortcuts for applying various different effects?

I want to be able to:

press CMD+OPT+CNTRL+B for black & white video effect
press CMD+OPT+CNTRL+M for Monster audio effect
press CMD+OPT+CNTRL+E for Earthquake audio effect
etc..

I hate having to press CMD + 5 to open effects window, search for the effect, and then actually mouse click on an effect.  I would love to keep my fingers on the keyboard...

Click in the Menu Bar on “Final Cut Pro”. A pull down menu opens, then click on “Commands” then “Customise”
A window will open with all available commands possible. Many won’t have a shortcut and you can set keyboard shortcuts for them. Mind the search bar in the top right corner.

I suggest to duplicate the Default command set before start changing.

If this is not enough then you could look into make a command recording with Automator.


Joining / Concat DNxHR HQ *without* re-encoding is it possible to precisely concatenate multiple DNxHR (HQ) videos into one without re-encoding?

It seems that ffmpeg can only handle MPEG streams.

As long as the streams have the same properties - resolution, pixel format, timebase, reference frame count, then they can be concatenated by ffmpeg. Strictly speaking, FFmpeg will concat non-matching streams, only throwing warnings for discontinuous timestamps in the input streams, but that output will not be accepted by most (or any) players.


Animation over video I have a video of a guy doing push ups. On that video I want to be able to draw some lines showing what angles the arms should be at when the guy is down and up. The lines should follow the guy on screen as he doing the exercise to show the viewers the correct way of doing the exercise.

Can anyone suggest any software that I will be able to use to achieve this effect? I have looked at Final Cut Pro but it is unclear if I can draw primitives (lines, circles etc.) with this package on screen.

Adobe After Effects is the go to program for motion graphics. There are a lot of resources available online in the form of tutorials and guides to help you get started. Something like you are describing is a simple enough task, but still requires a basic understanding of AE.


Why would it make sense to not be able to video in 30fps in a 720 resolution, and have to video in a higher resolution to get 30fps? On my GoPro Hero 7 Black, I can choose to video in 720, 1080, 2.7k, or 4k. I can choose 24, 30, 60, 120, or 240 fps.

I wanted to take a video that I didn't need to be able to slow down, and did't need super high quality, so I tried to set it to 720 at 30fps. However, it bounced back to 60fps and told me "30 FPS is supported at 4k, 2.7k, and 1080."

I can understand not being able to video in the higher resolutions at a higher frame rate, such as not being able to video in 4k at 240 (no matter how cool that would be). But why would 30fps in 720 be a limitation? Is it somehow more difficult to video in 720 at 30 FPS?

This also applies to 24fps, BTW.

720 is typically captured at 60fps, not always, it's not required (different video capture devices have different abilities), but 720p60 is more common than 720p30, so it may simply may not be, and likely is not a supported format.

You also shouldn't have to speed it up (as it should play back at it's base frame rate). This is common on higher end camera systems such as RED and ARRI, where you can set your base frame rate of say 24fps, but record 240fps thus it would play back at 1/10th speed.

The base frame rate is encoded into the file's wrapper, and most if not all programs would recognize that for correct playback.


How to export maximum quality in minimum size I want to export (i'm using premiar / edius ) video at maximum quality but my target size have to be maximum 400 mb (the movie length its about 40 min. ) and if it can be lower then 400 mb its even better.
what is the best way to export the movie so its will be quality and steel in a minimum size?
(by quality i want something Hd or more if its possible , if not so the most quality i can get in this size target)

You will want to use the H.264 codec, as it has one of the best quality/filesize-ratios of all the codecs out there. For this codec, your file size (and consequently it's quality) is mainly determined by the bitrate settings.

Let's do the math:

40 min = 2400 sec
400 MB = 3200 Mb (Megabit)
3200 Mb / 2400 sec = **1.33 Mb/s**

So you can set your Maximum Bitrate to 1,33 Mbps and the Target Bitrate to the same value or slightly below that. Make sure to change your Bitrate Encoding to VBR, 2 pass for best results (this will take longer than exporting with 1 pass though). This is already quite low, with these settings you will probably get significant artifacts in your video. However, Youtube uses an even lower bitrate for it's video encoding (at least up to Full HD, not sure about 4k), so you could argue that people are used to it anyway. The amount of quality loss also depends on how much entropy (that is, small particles et c.) is in your video, watch this for an explanation.


Writing to multiple memory cards on a canon 5d mark iii whilst filming Hi i have a canon 5d mark ii and it has 2 slots for memory cards one cf and one sd.I'm planning on doing some filming outdoors so was wondering if the CF card is full will it automatically start writing to an SD card or am i better off using multiple cf cards?

As far as I am aware it will write to both cards at the same time (dual redundancy), I dont think you are going to be able to write from one card to the next.

Using 2 cameras would always be a better option as you will then have multiple angles and or if you have a failed recording on one camera you still have a backup


How do I get the best parts from a video? Status

I would like to do a gaming montage of my best moments (like this one).

Right now I have recordings with a total length of ~7h full of gameplay.

Problem

How can extract my best moments in a faster manner as watching the whole recordings without rewatching all my recordings?

Regardless if I speed up the recordings to x2 there are still >3,5 h to watch.

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

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

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

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


FFMpeg crop filter doesn't change orientation I am trying to crop a portrait video of 1280x720 to 568x320 so that the video will be displayed in landscape view (16:9). I am using the following command

ffmpeg -i VID_1438833296.mp4 -vf crop=568:320:0:0 -c:a copy out.mp4

The video gets cropped properly but when I view it in quick time or Android device it still displays in the portrait mode instead of landscape mode.

The quicktime inspector shows Format size as 568x320 (Landscape) but current size is 350x621 (Portrait):

What's happening here is two things:

1)your video is portrait but stored as a landscape matrix and ffmpeg is applying autorotate so that all players natively display it in what ffmpeg thinks is the correct orientation.

2) the video has a PAL DV aspect ratio of ~1.09, so after the autorotation and aspect ratio correction, 568 x 320 is autorotated to 320 x 568 with 1.09 scaler being applied to both W and H.

Try this, instead:

ffmpeg -i VID_1438833296.mp4 -noautorotate -vf setsar=1,crop=568:320:0:0 -metadata:s:v:0 rotate=0 -c:a copy out.mp4


Can I split audio before it gets to my sound recorder? In the past I have been using a wireless lav for interviews recorded directly to my DSLR (Canon 60D).  I recently switched to a double audio system using my Zoom H4.

One  suggested setup was to channel the wireless lav directly to the Zoom then to split the headphone audio out of the Zoom to both the headphones and the DSLR audio for reference. However, this means the DSLR audio level changes if the headphone volume is adjusted.

If instead I split the audio coming out of the wireless lav to both the Zoom and DSLR audio (Rather than splitting the output of the headphone jack), then the audio levels could be adjusted appropriately and wouldn't change.  Will that degrade the audio quality? Is that recommended?

Technically if you want to be sure that you are getting the highest possible audio quality you need a pre-amp that you can use to split the signal. But the effect is going to be very small.

When you split a signal you are relying on the impedance of the two input devices being high, and the output impedance of the source being low, and everything being even across the frequency spectrum. Most modern equipment has high input impedance and low output impedance, so that's generally fine–you will get a couple of dB drop because you're splitting the signal across two outputs–but what could go wrong is that you will get e.q. shifts because the impedances might not be perfectly flat across the whole range of frequencies.

However it is unlikely to cause much of a problem for recording interviews, most likely it would only be a real issue if you were recording something like musical instruments. In an interview things like the room acoustics are going to have a far greater effect on the audio quality. Either way, a splitter cable is only going to cost a few bucks, so it's worth a test.


How to create a ragdoll effect on a human? I make an action(combat) short-length film and I use After Effects and 3DS MAX to edit it.
I want to make a battle scene where the one guy hits another guy and the second one is thrown away like a ragdoll.Could anyone please give me some advices or guide how to do an effect like this?
The following video resembles a good example of the effect that i am trying to create.

The only way i found effective is to crop the "ragdoll" guy and manipulate it by using the puppet tool (from after effects)...Also blur would hide the fake effect...

Thank you! :)

P.S.:The following 2 links are samples of the film that I am making!Hope you enjoy it!

http://dl.dropbox.com/u/48212109/the_battle_final.flv

http://dl.dropbox.com/u/48212109/the_battle_part6.flv

it's not super realistic but this tutorial uses the puppet tool in AE to simluate a ragdoll effect as the dude is crumpled over the hood.

http://www.videocopilot.net/tutorials/advanced_car_hit/


cloud backup routines I am looking for cloud backup or remote backup routines and practices that may be used for storing video.

Specifically if services or practices that offer versioning are relevant. If so, why or why not? Any examples of services you use will also be appreciated

I've used Backblaze for this. I understand that CrashPlan Pro and other similar services work in the same way. Basically, you install the software (free download), do some setup, and then it just runs in the background. Every time you create a new file or modify an existing one, it will (at some later point when there's less activity on your system) just back it up to the cloud. You can usually configure it to constrain how much bandwidth it uses, which folders you do and don't want backed up, and maybe even when backups occur. And if you have a very large initial backup, they'll even send you a hard drive to back it up to. You send it back once the backup has occurred. From then on, it's incremental over the internet.


Streaming with a Sony NX5 I recently obtained a Sony NX5, now aside from the fact that its pretty much a great camera in every way (afaik); it doesn't have a IEEE 1394 port. I assume this is probably related to the AVCHD format that the NX5 uses.

Regardless, I can't find an easy way to stream with it on to the Macs I've been given. Up to this point it's been fine as I've only needed to get the footage post-shoot. But next week I've got an event coming up and they want to use the NX5 to stream the footage from on-site to a synchronous event occurring elsewhere.

Their ambitions are high, but I figured if I can get the stream from the camera to the Mac, then I should be able to hook it up to the live stream.

Anyone got any pointers/hints/tips on how I can do this?

Analog to digital converter and then FW in to mac from there.


120fps 720p footage with real time playback on Ubuntu? + editing? I have a laptop with an i7 CPU, 1.73 GHz, 8GB RAM, Ubuntu 10.04 with an "ATI Mobility Radeon HD 5800 Series" graphics card. I have compiz enabled (which may be one of the culprits with the problem below).

I have recorded a few short videos in 720p resolution at 120fps (GoPro Hero 3), stored on my local HD. The mp4 videos range from 30MB to 500MB, so quite small.

I tried a variety of players, none of which seem to respond in real time  . In fact the response time is so bad that I get a few frames quite fast at the start but then only the odd frame every second to 5 seconds and the sound seems spliced! One of my 8 cores runs into the ground (100%), the others are essentially unused, with the video player process running at 98%. So obviously this is my limiting factor (can't multi-thread?).

(mplayer, xine both try to play in real time but drop many frames; vlc plays the sound, but shows impressionist rendering and then gets stuck on one frame quite early on; avidemux plays every frame but about 1/6th of real-time speed; cinelerra plays some of the frames only and quite slowly; kdenlive does not allow me to create a 120fps project; Kino converts and down-samples; Lives can't follow; OpenShot plays the sound Ok, but gets stuck on the first frame)

Playing standard 1080p 30fps footage uses about 65% of one core. I did expect that playing 120fps would drop frames, but not to the extent that I only see one every few seconds. In fact I thought that it would play about 1 in 4, which would be great for my purpose.

So I'd really appreciate if any of you had any hint as to how I should configure my video card, system or whatever to get better playback ability, i.e. real-time playback with my raw footage (without conversion or down-sampling prior to viewing).

This also affects my ability to edit the videos as I can't tell what I'm looking at in real time, which is very inconvenient when editing. I do not want to down-sample for the first stage of editing as I want to get a feel for the full video first and choose which sections to slow down for slow-motion and which sections to down-sample for normal real-time play.

While it is true that 720p video only has about half the data of a 1080p feed, the other thing you have to realize is that when you push the system beyond it's limit, it may spend a lot of time trying to process frames that it doesn't finish in time.  Depending on how the player is configured, it may give up and try to catch up rather than finish rendering the frame and get further behind.

Because of this, as soon as you get behind, you may now end up finding it is much harder for it to catch up.  You also run in to problems with keeping the data flowing quickly enough since the level of compression sounds like it may be higher (harder to decode) and the CPU is so busy that it can't be working on moving data up to be ready to read.

You probably should do a transcode of the video to a lower framerate and work with the transcoded copy to make editing decisions and then swap in the high framerate video only at the end.  After all, the only difference 120fps video will make on final output is anywhere that you end up doing a slow motion effect since you aren't going to have any display (including your computer screen) that can actually load 120 frames per second in to the image buffer.  Even 240hz screens are not displaying that many frames from a source.


Transcode 5.1 audio in ffmpeg leads to incorrect audio mapping in output I need to transcode some high res videos (prores or dnxhd files with 5.1 uncompressed 48kHz audio in MOV container) to their low res h264 with AAC keeping the audio still in 5.1 preserving their channel mapping.

In order to do so I tried to use this command:

ffmpeg -y -i input.mov -c:v libx264 -preset ultrafast -b:v 10000k -c:a libfdk_aac -afterburner 1 -cutoff 20000 -filter:v "scale=-1:720" output.mp4

The version I'm using is ffmpeg version N-87584-g47d6b02f6c-Reino a pretty new one.

What happens is that even if video processing is ok, for the audio part my channels are mapped incorrectly.. to better explain what happens I made a screenshot of before and after waveforms in Adobe Audition.

These are the waveform of the input file:

These instead are the waveforms of the transcoded file:

Again let me post the ffprobe parts related to the audio:

input file:

Stream #0:1(eng): Audio: pcm_s24le (lpcm / 0x6D63706C), 48000 Hz, 5.1, s32 (24 bit), 6912 kb/s (default)
Metadata:
  creation_time   : 2018-01-02T09:48:58.000000Z
  handler_name    : Apple Alias Data Handler
  timecode        : 00:00:00:00

transcoded file:

Stream #0:1(eng): Audio: aac (LC) (mp4a / 0x6134706D), 48000 Hz, 5.1, fltp, 488 kb/s (default)
Metadata:
  handler_name    : SoundHandler

and for finish MediaInfo Lite

original file:

Audio
ID                          : 2
Format                      : PCM
Format settings             : Little / Signed
Format settings, Endianness : Little
Format settings, Sign       : Signed
Codec ID                    : lpcm
Duration                    : 1 h 30 min
Bit rate mode               : Constant
Bit rate                    : 6 912 kb/s
Channel(s)                  : 6 channels
Channel positions           : Front: L C R, Back: L R, LFE
Sampling rate               : 48.0 kHz
Bit depth                   : 24 bits
Stream size                 : 4.35 GiB (5%)
Language                    : English
Encoded date                : UTC 2018-01-02 09:48:58
Tagged date                 : UTC 2018-01-02 10:16:46

transcoded file:

Audio
ID                          : 2
Format                      : AAC
Format/Info                 : Advanced Audio Codec
Format profile              : LC
Codec ID                    : mp4a-40-2
Duration                    : 1 h 30 min
Duration_LastFrame          : -8 ms
Bit rate mode               : Constant
Bit rate                    : 489 kb/s
Channel(s)                  : 2 channels
Channel(s)_Original         : 6 channels
Channel positions           : Front: L C R, Side: L R, LFE
Sampling rate               : 48.0 kHz
Frame rate                  : 46.875 FPS (1024 SPF)
Compression mode            : Lossy
Stream size                 : 315 MiB (5%)
Language                    : English
Default                     : Yes
Alternate group             : 1

If you play the mp4 file with VLC you clearly hear that something is swapped badly.

I'm open to a solution ;)

FFmpeg assumes that the input's 5.1 channel mapping is the same as the one it uses. To correct that, use the channelmap filter to remap, add:

-af "channelmap=4|0|1|2|3|5:5.1"

(I based it off the channel labels on the right in your images)


Create 4x2 grid mosaic trying to create a 4x2 grid from 8 videos using the terminal on a mac. The code I am using is not working:
ffmpeg -i input0.mov -i input1.mov -i input2.mov -i input3.mov -i input4.mov -i input5.mov -i input6.mov -i input7.mov -filter_complex "[0:v][1:v][2:v][3:v] [4:v] [5:v][6:v][7:v] xstack=inputs=8:layout=0_0|0_h0|w0_0|w0_h0|w0+w1_0|w0+w1_h0|w0+w1+w2_0|w0+w1+w2_h0[v]” -map "[v]" 4x2grid.mp4
Any ideas? I'm using ffmpeg version 4.3.1. And the error message is:  dquote>
Not sure why this is. I am relatively new to ffmpeg but can successfully create a 3x2 grid using the following code without the same message:
ffmpeg -i input0.mov -i input1.mov -i input2.mov -i input3.mov -i input4.mov -i input5.mov -filter_complex "[0:v][1:v][2:v][3:v] [4:v] [5:v] xstack=inputs=6:layout=0_0|w0_0|0_h0|w0_h0|w0+w3_0|w0+w3_h0[v]" -map "[v]" 3x2grid.mp4
I have also tried various other possibilities including the following code but with the same result:
ffmpeg -i input0.mov -i input1.mov -i input2.mov -i input3.mov -i input4.mov -i input5.mov -i input6.mov -i input7.mov -filter_complex "[0:v][1:v][2:v][3:v][4:v][5:v][6:v][7:v] xstack=inputs=8:layout=0_0|w0_0|0_h0|w0_h0|w0+w3_0|w0+w3_h0|w0+w3+w4_0|w0+w3+w4_h0[v]” -map "[v]" 4x2grid.mp4
Although I have tried to read the explanation here:
http://ffmpeg.org/ffmpeg-all.html#xstack
I am not sure I fully understand how to specify the desired layout configuration.

I have tried it on the colab, plz check if
https://colab.research.google.com/gist/xer-rex/90c426cd7dbdfd4ec3330a7c3b46f98f/sidebyside.ipynb helps?


Convert MTS AVCHD files into a more sharable format, such as mp4 I was using a Sony Alpha series camera which created avchd files, which are videos, and the file format is .mts

I am wondering programs are people using to convert these without compromising on quality? Looking for something very user friendly and one click.

I noticed iMovie isn't equipped to handle these files, and I do have After Effects and Premiere at my disposal, but those are the opposite of what I am looking for.

I've seen programs on Google but I am curious what you are using and why

'Free AVCHD to Mov' does not work for the Sony A7s II movie files on my Mac

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

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

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

ffmpeg -i movie.mts

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

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

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


Frame rate mismatch when converting to raw video I am trying to convert a H.264 video to rawvideo using the following command:

ffmpeg -r 50 -i test.ts -c:v rawvideo -r 50 -pix_fmt yuv420p -filter_complex "[0:v] setpts=PTS-STARTPTS" -y test.yuv

And here the raw video file is expected to have 50fps:

Output #0, rawvideo, to 'test.yuv':
  Metadata:
    encoder         : Lavf57.71.100
    Stream #0:0: Video: rawvideo (I420 / 0x30323449), yuv420p, 1280x720 [SAR 1:1 DAR 16:9], q=2-31, 552960 kb/s, 50 fps, 50 tbn, 50 tbc
    Metadata:
      encoder         : Lavc57.89.100 rawvideo
frame=15599 fps=111 q=-0.0 Lsize=21058650kB time=00:05:11.98 bitrate=552960.0kbits/s speed=2.22x
video:21058650kB audio:0kB subtitle:0kB other streams:0kB global headers:0kB muxing overhead: 0.000000%

But when I check the file with ffmpeg it shows it as 25fps and the duration is double the original duration of the video:

ffmpeg -s:v 1280x720 -i test.yuv

[rawvideo @ 0x55ad594ad840] Estimating duration from bitrate, this may be inaccurate
Input #0, rawvideo, from 'test.yuv':
  Duration: 00:10:23.96, start: 0.000000, bitrate: 276480 kb/s
    Stream #0:0: Video: rawvideo (I420 / 0x30323449), yuv420p, 1280x720, 276480 kb/s, 25 tbr, 25 tbn, 25 tbc
At least one output file must be specified

Why when I check the raw video file with ffmpeg the frame rate is stated as 25fps and the duration is reported to be double the original duration?

Raw video is just that - a raw dump of video content payload - there is no packetization or metadata.

Output to Y4M for a format with metadata

ffmpeg -r 50 -i test.ts -pix_fmt yuv420p -vf "setpts=PTS-STARTPTS" -y test.y4m


Overlay a photo in Windows Movie Maker How do you add a picture on top of a video in Windows Movie Maker? I only know how to add text on top of the video.

I want to use an image to block a person's face in the video. How can I do that?

If that isn't possible, how can I blur the face out?

As Windows Movie Maker don't support multi track editing, I don't think it is possible to overlay images onto the main video. Similarly, I don't think it has the required features to blur a specific area.
If you are looking for a software recommendation, Sony Movie Studio can do both of these things (£60), and so can Blender (free, but very hard to learn)
Sorry not to have been more helpful.


Sony Vegas VS After Effects for graphic / Keyframe editing I want to animate "drawings" on people's faces like " X "'s and other lines and I am aware, as far as I know, that in sony vegas that is done via individual frames.

Is there another way? Does AE do it more easily?

As a general question which software is best used for editing or should a combination of software be used e.g Sony Vegas for final cut edits and then AE for post and graphic editing?

After Effects is definitely the right tool to use rather than Vegas for motion tracking / drawing on moving footage. Here is a classic tutorial that you can watch to get a sense for how to achieve face tracking & replacement.

Vegas is much better suited for editing. After Effects can often struggle to achieve real-time playback over extended periods of time and doesn't have the tools built in the same way as a NLE like Vegas, Premiere, or Avid.


ffmpeg: Second lower third does not appear On a video I am producing, I am overlaying a digital on screen graphic on the lower right corner (branding logo).  I am overlaying an 11 second two-tiered lower third at the beginning of the video (Speaker's Name with their title below their name).  Later in the video a second speaker is introduced and I am trying to add a second two-tiered lower third for the second speaker.  I do this on a weekly basis and everything before the second lower third works like magic.  However, the second lower third never appears.  Here is the code I am using:

ffmpeg -hide_banner -loglevel 56 -report \
    -ss 00:25:00 \
    -i 00005.MTS \
    -i ./constants/edu_logo.svg \
    -i ./constants/name_animation_dr_johnson.mp4 \
    -i ./constants/name_animation_dr_halmilton.mp4 \
    -filter_complex "[1:v]scale=400:122[logo]; \
    [0:v][logo]overlay=x=main_w-overlay_w-80:y=main_h-overlay_h-80[v-l]; \
    [v-l][2:v]overlay=x=0:y=0:enable='between(t,0,10.5)'[v-l-a]; \
    [v-l-a][3:v]overlay=x=0:y=0:enable='between(t,15,25.5)'[v-l-a-a]" \
    -vcodec libx264 -preset fast \
            -flags +cgop -pix_fmt yuv420p \
            -b:v 2M -movflags +faststart \
    -map "[v-l-a-a]" -map 0:a -t 30 my_test.mp4

What do I need to modify to get the second lower third to appear?

Ubuntu Studio 18.04.2 LTS
ffmpeg version 3.4.6-0ubuntu0.18.04.1
i7-2600k @ 3.4GHz
8 Gigs of RAM
GeForce GTX 970

The overlay filter syncs by timestamps i.e. it overlays 2nd input's frame with timestamp X on main input's frame with timestamp X.  Barring certain circumstances like the use of -copyts, timestamps start from zero. So, when your 2nd lower-third overlay enters its active timeline, there are no corresponding frames from the secondary input.

Solution: offset the input's timestamps to start from overlay start time.

ffmpeg -hide_banner -loglevel 56 -report \
    -ss 00:25:00 \
    -i 00005.MTS \
    -i ./constants/edu_logo.svg \
    -i ./constants/name_animation_dr_johnson.mp4 \
    -itsoffset 15 -i ./constants/name_animation_dr_halmilton.mp4 \
    -filter_complex "[1:v]scale=400:122[logo]; \
    [0:v][logo]overlay=x=main_w-overlay_w-80:y=main_h-overlay_h-80[v-l]; \
    [v-l][2:v]overlay=x=0:y=0:enable='between(t,0,10.5)'[v-l-a]; \
    [v-l-a][3:v]overlay=x=0:y=0:enable='between(t,15,25.5)'[v-l-a-a]" \
    -vcodec libx264 -preset fast \
            -flags +cgop -pix_fmt yuv420p \
            -b:v 2M -movflags +faststart \
    -map "[v-l-a-a]" -map 0:a -t 30 my_test.mp4


Softwares for GPU accelerated rendering I'm a YouTuber and I spend quite a lot of time solely to render my video (editing is sparse, mainly cutting boring scenes to keep the highlights of the episode) that I believe could be accelerated using GPU to render.

I've seen that most softwares use CPU to encode the video, however I was wondering if some of these softwares (such as Premiere which I haven't used yet) could accelerate the render process using both CPU and GPU.

I am currently using Sony Vegas, and during render while using CUDA, GPU load is around 20% which is a pitty I believe.

Adobe's CC suite will use the GPU, but the benefit you see from it depends on the power of your GPU compared to your CPU. This feature set is called the "Mercury Playback Engine" and contains, among other optimizations, CUDA support for certain realtime effects (scaling, crop, etc) as well as encoding/decoding.

However, most integrated or mobile GPU's aren't powerful enough to make it worth using CUDA acceleration. Fortunately Adobe is smart enough to transition back to CPU rendering when it detects wimpiness in the GPU department.

With a dedicated graphics card like a GTX970 you'll see a significant decrease in render time - perhaps as much as 50% (so I've heard, anecdotally, from other youtubers like yourself).


How can i open circumference of circle as straight line in After Effects? I would like to create an animation to open circumference of a circle as a straight line exactly. I am currently learning After Effects and i have some idea about it but i could not do it.

It is very important to me. Can anyone help me to do it?

Use masks. Make a mask with 5 points, one in the centre of the circle two on either side in line with the first and two far enough away so that the mask covers half the circle. Then animate the second two points to travel together and meet in the centre.

Actually do the above, but reverse the order.

Here it is with a matte layer to show you the shape of the mask I'm talking about.

and the end result

Remember that the points on animated masks travel in straight lines between keyframes. So the beginning and end positions of the moving points have to be far enough out that they don't go inside the circle.

Edit

Here's an expression to create a circle, and a line and interpolate between the two. The intermediate frames are kinda ugly, I'd probably convert the expression to keyframes and delete all but the first and last frames, then manually animate the in-between.

var radius = 100;
var animationDuration = 2;
//You can't draw a perfect circle with Beziers, but this is a good approximation
var handleLength = radius * 4 * (Math.sqrt(2)-1)/3; //Because maths.
var circlePoints = [];
var outHandles = [];
var inHandles =[];
var Tau = 2* Math.PI;
for (i = 0; i < 5; i++){
    circlePoints[i] = [Math.sin(Tau * i/4) * radius, Math.cos(Tau * i/4) * radius];
    outHandles[i] = [Math.sin(Tau * (i+1)/4) * handleLength, Math.cos(Tau * (i+1)/4) * handleLength];
    inHandles[i] = [0,0] - outHandles[i];
}

var linePoints = [];
var lineInHandles = [];
var lineOutHandles = [];

for (i = 0; i < 5; i++){
    linePoints[i] = [radius * (1 - i / 2), 0];
}
var thePoints = [];
var theinTangents = [];
var theOutTangents =  [];

var t = Math.min(time / animationDuration, 1);
for (i = 0; i < 5; i++){
    thePoints[i] = circlePoints[i] * (1-t) + linePoints[i] * t;
    theinTangents[i] = inHandles[i] * (1-t);
    theOutTangents[i] =  outHandles[i] * (1-t);
}

createPath(points = thePoints, inTangents = theinTangents, outTangents = theOutTangents, isClosed = false);


Compact Camera for nighttime live streaming? We recently adopted a pet hamster for our office, and are interested in setting up a live feed for evenings and weekends so that employees and customers can tune in to the lil guy during his most active hours, and so we can additionally make sure he's doing alright when there are not as many people in the office to check up on him.

We'd be working with close quarters here - he's in a plastic DIY hamster cage that measures 12.62 inches (H) x 18.75 inches (W) x 34.62 inches (L). Because the plastic is not 100% clear the camera would need to be mounted inside the lid of the enclosure, in a corner. We need a fairly small camera as a result, just to ensure he can't climb up to it and chew on it. (It's a dwarf hamster though, so as long as it's a few inches off of the bottom of the enclosure that should be fine... he's short!) If need be, we could probably make a hole in the enclosure for the lens to peek through, but I'd like to avoid that.

The cage currently isn't terribly close to an ethernet switch, so WiFi would be ideal, but the cage could likely be moved to be connected to either my extra Linux box via USB or directly to ethernet. I would then be running broadcasting software on the Linux box to send the stream to Twitch or YouTube or whatever works.

I don't know nearly enough about cameras to know where to start. If it could be done for under $100, that would be a great start - not looking for super high quality, just like a nanny cam situation but on a smaller scale. I've felt a little lost looking online, as it seems many of these consumer surveillance cameras all have their own specific apps you have to view the feed through, with limits, etc, and I just want to be able to access the feed directly so that I can forward it on to the internet.

You can use old(ish) Android phone to have all-in-one solution or you can use go-pro camera with laptop.


Export multiple clips from one video as separate files I'm looking for video editing software with a GUI that will fit my needs.

I've downloaded the video of the public comments from our most recent local city council meeting. 17 people gave public comments.

Here's basically what I want to do:

Create 16 breakpoints, separating each individual's comments.
Select/highlight those 17 clips.
Click 'export selected clips to directory'.
Choose the directory and click 'save'.
Go to the grocery store .
Get home & go to the folder on my computer with 17 files named comment-1.mp4, comment-2.mp4, comment-3.mp4, ... comment-17.mp4.
Upload them to my site / youtube / whatever.

I'm using Ubuntu 19.10.

I have tried Kdenlive, which just froze when adding a 30-minute video, and I don't know if it has batch export anyway
I tried Blender, and couldn't figure out a way to batch export like this. I was able to export clips one at a time, but it was extremely cumberson
I'm now using Shotcut, which has made exporting clips one at a time super easy, but I can't figure out how to (or if I can do) a batch export as described above

I've looked at several different articles about editing software, and I can't seem to find this functionality listed. I'm not sure I'm searching with the correct terms.

Is there software for linux / ubuntu that will do what I want (with a GUI)? Which software?
If Shotcut can do it, how?

My preference is open source software. Free, too.

I did it with shotcut. Credit to: https://forum.shotcut.org/t/export-one-track/7503/3

Steps

Load video into shotcut
click+drag video down to timeline
move playhead to desired position & Split at Playead (S)
click on a clip I want to export, then Copy (C)
Open Playlist view (from top bar)
press the plus (+) button in the bottom left, at the bottom of the playlist view
Click the export tab
In the 'From' dropdown (where it says Timeline or Source), I choose 'Each Playlist Item'
Click 'Export File'
Choose location, file name, and click 'Save'


How best to find literature on motion graphics design I'm looking for material on motion graphics; books, video tutorials, etc. I think I don't just need to check out "advanced" stuff, but also the very basics. (Since there's always much you can learn there).

What techniques would be best to find relevant and current material?

Zettt please check out a site called GreyScaleGorilla.com he covers this sort of, blog esq style bridging the knowledge between those beginners and the mograph world.  He is super helpful, and a great guy...also check out his forums as well as many mograph replated questions have been asked and answered there as well

GreyScaleGorilla.com


How to lay one video over another I have two video clips. What I need is for the first video clip to play behind the second. I need to be able to choose the offset since the two videos are not exactly in sync.I need to adjust the position of the second clip on the first. (It should be at different places at different times).What would be the right software to do this. Also are there any blog posts about this?

It is not clear to me what you mean by laying "one video over another." This could mean you want to show both simultaneously in the same frame. One way to do this is using a split screen. Another is to superimpose each over the other then reduce the opacity so you see both images. Yet another is to superimpose each over the other but use a mask on the top layer so only portions of the bottom layer are exposed.

Summary of possible overlays with links to examples.

1) Split Screen
https://vimeo.com/22564317

2) Double Exposure
https://vimeo.com/42863351

3) Compositing
https://vimeo.com/44747735

You will need an NLE that is capable of rendering multiple video tracks at once. Sony Vegas Movie Studio would allow up to 4 video simultaneously, while Vegas Pro will allow as many as your computer can handle (on my 3 year old quad core this can be up to 9 SD tracks or 5 HD tracks). Other NLE video editors to check out would be Avid, Adobe Premiere, and FCP.

Once you know which one of the effects I listed above fits your situation, you will be able to find tutorials on YouTube specific to the NLE you are using. For instance, here is a tutorial I found on YouTube by searching for "how to use split screen on vegas movie studio".

https://www.youtube.com/watch?v=HnsWKDXIxJA


VOB editing with FFMPEG I read that it is better to extract from vob H264 files within a .ts to have a lossless and more accurate sample, easy to cut, is that correct ?

I used these commands :

ffmpeg -i VTS_01_1.VOB  -acodec libfaac -aq 100 -ac 2 -vol 2048 -vcodec libx264 -preset veryslow -crf 18 -threads 2 manu1.mp4

ffmpeg -i manu1.mp4 -c copy -bsf:v h264_mp4toannexb -f mpegts intermediate1.ts

I did extract two video samples from the intermediate .ts file with that kind of command :

ffmpeg -ss 43 -i intermediate1.ts -vcodec copy -vframes 1400 -acodec copy 1-manubus.ts

if I play separately this .ts files in vlc, they are both completely decoded, no frames are missing

Finalization :

ffmpeg -analyzeduration 200M -probesize 150M -i "concat:1-manubus.ts|2-manuchoisit.ts" -c:v libx264 -crf 18 -preset slow -bsf:a aac_adtstoasc -force_key_frames 0 1990-Manu_Redpants.mp4

But then, When I play the final file, the first 6 sec are a frozen frame and then comes the audio and video streams perfectly synchro until the end. If I play the first part 1-manubus.ts, the 6 first seconds exists and are not missing, what's happening ? Something related to first frame not being the I-frames ?

In the first step you are doing a lossy conversion, you transcode from vob to mp4, and then to ts. For a lossless re-mux you should just re-mux, better to specify both video and audio:

ffmpeg -i VTS_01_1.VOB -c:v copy -c:a copy -bsf:v h264_mp4toannexb -f mpegts intermediate1.ts

However, if you re-mux for the purpose of slicing then you should be aware that with this method it is possible only on exact keyframe boundary, so you might want to reconsider whether you want to do it this way. For a detailed explanation please see in this answer.


How much GB or TB is 1 hour of raw uncompressed Ultra HD film? I was looking on wikipedia but couldn't find any definitive answer.

I think it's because it depends on how many bits is the color pallete and frames per second.

Please, could somebody help me make a rough estimate how much GB or TB would be a standard 24fps? or 30fps? (I am not sure which is the standard frame rate for UHD movies) Ultra HD movie (3840x2160) with the length of 1 hour.

I want to know the uncompressed raw size of the movie file after exporting from Adobe Premiere

I am not sure what is the standard 8 or 12 bit or some other? So, I will be thankful for your advice.

A 'base' value is ~33 GB per minute for 8-bit RGB at 24fps. Multiply by 1.25 for 30fps, and/or by 1.5 for 12 bits/pixel, or 1.25 for 10 bits/px.

3840x2160 = 8294400 pixels per plane
   x 3 for RGB = 24883200 px per frame
     x 24 fps = 597196800 px per sec
       x 60 sec = 3.5831808 x 10^10 px per hour
         x 8 bits per pixel, / 8 bits per byte = 3.6 x 10^10 bytes / hour
So, roughly 33 GB per minute for 8-bit 24 fps


How to re-order the .wav file channels I need to change the order of channels in .wav file. for example if .wav file contains 16 channel like

  "1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16"

then need to change this order to

  "14 15 16 1 2 3 4 5 6 7 8 9 10 11 12 13"

You can use the channelmap filter for this,

ffmpeg -i in.wav -af "channelmap=13|14|15|0|1|2|3|4|5|6|7|8|9|10|11|12" out.wav

Channel index starts from 0.


Can I use h.264 codec inside .mp4 container for my website I would like to use h.264 as the codec inside .mp4 container for my user uploaded videos for my website. But I saw somewhere that h.264 is non free. I am unsure whether I can use this technology or not. My question whether I can use it to compress my user uploaded videos in my website? If yes, then its great. And if no, what other solution can I go with? Thank you.

Use it. Nothing else can provide the the same quality per bitrate as x264 (the top-class H.264 encoder) while not taking 10,000 years to encode (x265 'n VP9).

Some tips:

Use a recent ffmpeg build since development is so active. Static builds are available and easy.
Add -movflags +faststart to your command. Once encoding is finished this option will relocate the moov atom to the beginning of the file allowing playback to begin for your viewer before the file is completely downloaded.
Because ffmpeg attempts to avoid chroma subsampling using -pix_fmt yuv420p is recommended to ensure a widely compatible pixel format.
Some devices may require you to use a more restrictive profile and level. You can do this with the -profile:v and -level options. Be aware of attempting to force a specific level on outputs that will not conform (such as trying to force -level 3 on a 1920x1080 video). ffmpeg will give level limit warnings in the console output if this is the case.
See the H.264 and AAC encoding guides for more info.


Audio and Video out of sync when slowing down I want to make a video play at 75% speed, so I used the following command:

ffmpeg -i combinedfullspeed.mp4 \
   -filter_complex "[0:v]setpts=1.25*PTS[v];[0:a]atempo=0.75[a]" \
   -map "[v]" -map "[a]" slow3.mp4

However, the video and audio are way out of sync. Any idea why?

The reciprocal of 75% i.e. 0.75 is 4/3 or 1.3333, so

ffmpeg -i combinedfullspeed.mp4 -filter_complex "[0:v]setpts=(4/3)*PTS[v];[0:a]atempo=0.75[a]" -map "[v]" -map "[a]" slow3.mp4


Why is my Sony Alpha 6000 not synchronzing with other recorders? Using a Canon 70D and a couple stand-alone audio recorders, I have no trouble matching footage between the different devices.

With the Sony Alpha 6000, I can't line them up on the Premiere timeline: I sync one side of the clip and then the opposite end is not matching.  Where the video is split into multiple files, I want to shift each toward the center so I overlap a few frames in the middle.

It seems to be about 1 second every five minutes.  MediaInfo tells me that the files from the camera are "23.976 fps". I created the Premiere Timeline to auto-match the clip's settings, so it's not changing the rate as part of the project.

Update

With the cameras still set as they were, I shot a controlled test video and was unable to reproduce the problem.  Everything lined up just fine!

My careful test showed that the Alpha 6000 loses 0.2084 seconds of sound when it changes files, which is good to know in general but not relevant here.  That is, the last bit in the file is silent, but the next file starts with the correct synchronization for the next frame.  If you concatenate the streams, 1/5 second of sound is missing but no other glitch is apparent.  (I did not look too closely at the video frame timing.)

It also shows that over a 30 minute recording it does drift slightly, less than a frame.  Measuring, I see the tick on the Sony's audio track appears to the right of the same position on the Zoom H4N track: 0.0055 seconds after about 10 minutes (end of one file), and up to 0.14 seconds after 27m18s, near the longest a single "take" can record on the Sony.

In comparison, the Canon 70D audio track shifts to the left by 0.0065 seconds over the same half-hour span: about 1/3 the amount of drift, and in the opposite direction.

The real problem with my synchronization was not due to the Sony camera.  For some unknown reason, the Zoom H4N seamlessly dropped close to 3 seconds (2s19f out of 24 fps) in the middle of the file.

That is, the recorded WAV file (one file—not a file break) somehow stopped laying down samples and resumed a moment later with no indications that anything took place.  Looking close-up in Audition there is a line visible in the frequency display where the discontinuity in the waveform is interpreted as noise on all frequencies.  One person is talking before the break, and another person is talking after, as if a section was deleted from the recording and saved back to a WAV file.

Strange, isn't it?


Is there a good collection of examples of the different type of video cuts? So I'm a beginner when it comes to video editing, but I hear and read about a lot of different types of cuts between clips, e.g. jump cut, smash cut, etc. I always felt it would be great to just see them demonstrated in some example video clip.

Have anyone seen such a resource, preferrably free, online, where most or all of these types of cuts are shown in examples?

Wikipedia is not a bad resource for explaining the different types of edits in continuity editing. Some have examples using stills of the out and in points, or references to usage of the edit in a well known film sequence.
https://en.wikipedia.org/wiki/Continuity_editing
https://en.wikipedia.org/wiki/180-degree_rule
https://en.wikipedia.org/wiki/30-degree_rule
https://en.wikipedia.org/wiki/Axial_cut
https://en.wikipedia.org/wiki/Cross-cutting
https://en.wikipedia.org/wiki/Cutaway_(filmmaking)
https://en.wikipedia.org/wiki/Cutting_on_action
https://en.wikipedia.org/wiki/Establishing_shot
https://en.wikipedia.org/wiki/Eyeline_match
https://en.wikipedia.org/wiki/Insert_(filmmaking)
https://en.wikipedia.org/wiki/L_cut
https://en.wikipedia.org/wiki/Long_take
https://en.wikipedia.org/wiki/Match_cut
https://en.wikipedia.org/wiki/Shot_reverse_shot


GoPro Hero 5 Session camera for long shot (crowd shot) I am asked to shoot noncommercial event, which will last several days. I have my usual camera for close and middle shots (Lumix G6), and I am thinking to by cheap 4K camera for long shots (crowd shots) and cut peaces of them after.

I heard that GoPro Hero 5 Session are capable of recording in 4K, but will it be helpful in this case? Or maybe there is better solution quality/price for long shot?

Yes, useful for wide crowd shots.
Yes, you can crop down/scale up 1080p selections from the 4K to simulate additional camera angles.

Consider using the gopro app or a wifi remote to stop/start the gopro so you don't have to physically access the device while monitoring your main camera(s).

Not sure how long the event will run for but you might want to look at an external USB power source too.


How to make ffmpeg flush the subtitles in real time while transcoding? I'm feeding ffmpeg from stdin and do several transcoding operations in one command only. The issue is that ffmpeg seems to transcode them(or at least write on disk) sequently (i.e. first it transcodes/writes audio/video and then it transcodes the subtitles). This way it takes minutes before you get any subtitle content which translates in a poor user experience(if the transcoding is "on demand"/live) because the client needs to wait for the subtitles even if the audio/video is ready(at least partially).
  How can I change that? How can I make ffmpeg write the subtitles to the disk as soon as they are copied/transcoded?

Note:  I believe the transcoding is done concurrently for the subtitles too but for some reasons it flushes/writes them on disk only after the audio/video transcoding completes. That's because there is no way ffmpeg could start reading the input from beginning after a/v transcoding is done because it can't seek/start over from stdin.

Below is a sample of my command:

 ffmpeg -nostdin -i - -map 0:2 -c:0 webvtt -f webvtt first.vtt \
-map 0:3 -c:0 webvtt -f webvtt second.vtt \
-map 0:0 -c:0 copy -map 0:1 -c:1 aac \
-use_timeline 1 -min_seg_duration 1000000 \
-use_template 1 -init_seg_name $RepresentationID$-0.mp4s \
-media_seg_name $RepresentationID$-$Number$.mp4s \
-adaptation_sets "id=mkv/0,streams=0 id=mkv/1,streams=1" \
-f dash -dash 1 out.mpd

When ffmpeg will flush to output depends on the protocol. For file protocol, atleast 256 kiB data must be waiting, unless it's end of output. So, for text formats, there will be only one payload write.

You can workaround by forcing ffmpeg to flush a stream after each packet.

 ffmpeg -nostdin -i - -map 0:2 -c:0 webvtt -flush_packets 1 -f webvtt first.vtt \
-map 0:3 -c:0 webvtt -flush_packets 1 -f webvtt second.vtt \
-map 0:0 -c:0 copy -map 0:1 -c:1 aac \
-use_timeline 1 -min_seg_duration 1000000 \
-use_template 1 -init_seg_name $RepresentationID$-0.mp4s \
-media_seg_name $RepresentationID$-$Number$.mp4s \
-adaptation_sets "id=mkv/0,streams=0 id=mkv/1,streams=1" \
-f dash -dash 1 out.mpd


Using Multicam Editing How to Color Correct an entire angle Am new to Premier CS6 - working with Multicam editing.  Having success but stuck on color correction.  I am able to create a multicam clip and do my edits using the Multicam Editing window (very slick and fast).  Also able to adjust those edits in the timeline to improve timing.  Sweet.
How do I color correct (or add an effect) to an entire angle in a multicam sequence after I've applied the edits (or even before)?
If I drag the effect into the timeline it sticks only to a particular edit and won't get to all the edits from that angle.  I can't drag it into the upper-left window ("browser"?) and don't know how else to apply the effect.
I've read some online but am hitting a wall with how I get to the underlying video footage behind the multicam edit.
Can someone hold my hand and guide me?
Detail Steps Taken in CS6

Place video files (angles) in the project browser
For each file, double click to preview video and then set corresponding in-points
Select all video angles in project browser, right-click, and choose Make multicamera clip... (by in-point)
Place new multicam clip in the sequence

If all is correct you enable the multi camera mode on a sequence containing the different angles in different tracks as shown in the image below (this is CS5.5, but CS6 is similar).
  The image shows a sequence containing 4 different clips which represent 4 different angles.
In this example these are just a collection of random footage, but it works the same if you have actual different footage from different angles.

Let's call this Sequence 01. Now put Sequence 01 in another sequence,

click on Multi-Camera -> Enable and then you can switch witch camera you want in Sequence 02.

According to the information in your question you've already come so far.

Now if you want to color correct one angle (lets take the angle called Leaf.MOV) just open Sequence 01, apply the effect to the clip (drag and drop on the Leaf.MOV clip) and this changes should propagate into your multi-cam edits.

Please feel free to ask any question if this doesn't work for you. I'll try to help.


How can one resume an interrupted ffmpeg job or pause by design and save some kind of state file? Attempting to convert a series of mp4's for the umpteenth fricking time using hvec 265 codec to save a buttload of storage space. And this does indeed work quite well but i do not have the luxury of letting the encoding job run and run and run forever and the moron b*****s here very well know that. So the question is, how to resume an interrupted job ? would seem they could build what the last frame looked like by scanning the initial frames if some other data was stored and clip any bad data off the end and re-begin at around the point of the last write.
Was once suggested to pull the parts into smaller pieces and concatenate them but i would think this would require a full reencode of all pieces occurring AFTER the first cutoff point during concatenation to continue the chain unless of course mp4 files can contain MANY video sections.

Depending on what shell you're using you can suspend a process (in posix shells it's with ctrlz, in Powershell you might use suspend-Job) and then resume it. This is true for any shell with job control. You can't quit and save the state from ffmpeg though.
A workaround would be to run the ffmpeg process in a virtual machine. Most linux distros have a minimal server version that would work for this. This would let you save the machine state, and restart the encode at a later date.


Is it possible to speed up footage by more than 4x in Sony Vegas Movie Studio? I have set the clip playback speed to 4.000 (to run at 4x the orginial speed) as show below.

This is as high as the software allows. I would like to go further, perhaps as much as 12x as fast.

I am aware that the Pro version of this software includes the ability to use 'velocity envelopes' to increase the speed.

The only workaround I know of is to:

Speed up the footage by the desired amount (in this case 4X)
Render the clip.
Import the clip
Repeat steps 1-3 until satisfied.

This isn't ideal as repetitively rendering the clip repeatedly is fairly time consuming.


Final cut pro cropping at an angle Is there any way in final cut pro to crop a video in a different angle to the original video?

In my case I have recorded some footage of something within a frame, some dice rolling in a box, but the angle of the box is slightly off to the camera, and I'm trying to work out if I can rotate the original footage while cropping in the previous dimension, to re-square the box, if that makes sense..?  rotating the video seems to rotate the crop are as well :/

Use the Draw Mask effect. You can essentially crop with curves, or polygon shapes


Correct font properties for subtitles I'm editing a video using Adobe Premiere CC, I need to put subtitle. What is the best font properties?
I'm using:

Font Family- Arial Rounded MT;
Font Size- 15;
Color- #FFF600;
Strokes > Inner Strokes- color #000000

Is this the correct way?

For some reason the default subtitle colour often seems to be yellow; I can't find any definitive reason why though. I hate yellow subtitles with a passion, they always look hideous and distracting, so I always make mine white. To separate them from light coloured backgrounds I use a soft black drop shadow if possible, or otherwise a black border. As you can see below they are readable even over light backgrounds.
The size depends on the viewing medium. The one below looks a bit wee in the size it's displayed on this page (on a retina screen on a 15" laptop), so if I was doing subtitles for handheld devices where it might be displayed at this size I'd make it larger, but on a TV it's plenty big enough. In a cinema it might be a bit too large. Resolution is a factor, too. If this was going to standard definition I'd have to bump up the font size a bit too.
Sans-serif is my default choice, usually Arial because it's so bland, so it doesn't distract from the art direction. Serif fonts are also a problem if the video is ever going to be displayed on interlaced screens (which applies if it is to be broadcast, at least until all the old interlaced TVs have gone to the verge), because the thin horizontal lines flicker between fields. Also at low resolutions the thin parts of the letters get lost. So while serif fonts generally have greater readability they might not be the best choice just yet.


Split PGS subtitles (.sup file) I'd like to know if there is any method to split a PGS format subtitle pulled from a bluray as a .sup file.

Here is the structure of a .sup subtitle file and a link to the splitter I created. Information is either from linked reference or my own research.

The .sup subtitle splitter I created. http://forum.doom9.org/showthread.php?p=1737122

SupRip github page with sup related code. You can read more specifics about each section here that I don't discuss.
https://github.com/peterdk/SupRip/blob/master/Bluray%20Sup.txt

The hex 0x50 0x47 are headers for sections in the .sup file, however there are multiple sections per subtitle line. There is always (in my experience) a 0x16, 0x17, 0x14, 0x15, and 0x80 flagged section for displayed subtitles. There can be multiple 0x15 sections if the bitmap data is large. There are also "empty" subtitles which are used to end a subtitle which only have 0x16, 0x17, and 0x80 flags. Subtitles only have a start time and no end time or duration, so a subtitle is ended by the next subtitle starting. So if two subtitle lines are separated by a time period, a blank subtitle section is used to end the first subtitle.

Referencing the linked page these are the flags each header can have.

TIMES = 0x16
SIZE = 0x17
PALETTE = 0x14
BITMAP = 0x15
END = 0x80

Hopefully explaining everything with hex code of a full subtitle should help. I separated each of the sections and truncated the palette and bitmap sections.

Header structure, always 13 bytes long

50 47        start of header
00 01 E3 E0  time code
00 00 00 00  second time code (normally zero)
16           flag
00 13        data size

To get the time code to a usable form take the hex and convert to decimal, then multiple by 100,000 and divide by 9 to get nanoseconds.

0001e3e0 -> 123872 *100,000/9 = 137635555 ns = 1.37635555 sec

start of .sup file
1st subtitle

50 47 00 01 E3 E0 00 00 00 00 16 00 13 07 80 04 38 10 00 02 80 00 00 01 00 00 00 00 05 41 02 6F   Times section of subtitle, gives the start time of the subtitle

50 47 00 01 E3 34 00 00 00 00 17 00 13 02 00 05 41 02 6F 00 81 00 37 01 02 40 03 CB 03 04 00 46   Size section of subtitle

50 47 00 01 CD 04 00 00 00 00 14 01 47 00 00 00 ...       Palette section of subtitle

50 47 00 01 CD 2C 00 00 00 00 15 0C 68 00 00 00 ...      Bitmap section of subtitle

50 47 00 01 CD 2C 00 00 00 00 80 00 00     End section of subtitle, denotes the end of one subtitle

2nd subtitle (actually blank which ends 1st subtitle)

50 47 00 07 E7 80 00 00 00 00 16 00 0B 07 80 04 38 10 00 05 00 00 00 00   Times section of subtitle, gives the start time of the subtitle. Previous subtitle ends when this "subtitle" begins

50 47 00 07 E6 D4 00 00 00 00 17 00 13 02 00 05 41 02 6F 00 81 00 37 01 02 40 03 CB 03 04 00 46   Size section of subtitle

50 47 00 07 E6 D3 00 00 00 00 80 00 00      End section of subtitle, denotes the end of one subtitle


Lossy output with FFMPEG JPEG 2000 I'm trying to achieve a lossy JPEG 2000 output with FFMPEG, but no success so far.

Using this command line:

ffmpeg -i input.dpx -pix_fmt yuv420p -vcodec libopenjpeg output.jp2

As a result I get lossless output, which is a default setting for JPEG 2000. I tried -b:v and -q:v, but they both have no impact to the output.

Does anyone know a command that changes the quality/compress the output?

Any kind of help is really appreciated. Thank you!

Did you try using the -compression_level flag? It takes an int from 0-100 afaik (maybe the range is even higher, the docs just say "int").

That should set a lossy compression strength.

There is also an interesting blog post about creating DCI compilant JPEG2000 encodes with FFMPEG for DCP's. Which require lossy encoded JPEG2000.


Burn .ass subtitle onto .webm with no loss of quality I'm trying to burn .ass subtitles onto a .webm, using  ffmpeg -i input.webm -vf ass=subtitles.ass output.webm  but it shrinks from like 150MB to 9MB.   How do I add the subtitles without losing quality ?

Use

ffmpeg -i input.webm -vf ass=subtitles.ass -b:v 0 -crf 20 output.webm

The libvpx encoders for WebM, by default, perform Constrained Quality encoding, and use the bitrate as a ceiling. Default bitrate is 200 kbps. To remove bitrate ceiling, set bitrate to 0. -crf controls the quality level.


Extract PTS, Frame Number from a TS file using the bytes representation of it I am trying to write a Python script which will connect the TDT with the PTS in a MPEG-2 TS. So far I have managed to convert the TS file into a .dat file where I have all the hex representation of the 188 bytes on a different line. I have couple of problems:

I want to separate the frames and put an incremental number in front of the packets from this frame. For example, all the packets belonging to frame Nr. 1 to have fr%5d in front. I can easily do that using Python as long as I know how I can separate between the frames.
I want to decode the PTS from the PCR. So far I have extracted the PTS values using FFMPEG and I have a list for each frame which PTS it has. I have tried to grep the .dat file for the hex representation of the PTS but it doesn't find any matches. So I guess the PTS is coded in a different form, but so far I wasn't able to figure out the syntax of it.

My .dat file has the following content:

b'4700ff1de05ca7686c2b43f5e37e6dafd388761c36900ab37e10409a1dcbdd95dd1b9492ccbf4d75518e357d00cdb41536b54c2e5eb093d46f006835f9ebc39d6e5fe2401f1495cb8d2f9a6190ac3f3d2e519115ca05df63295d94a2c4b4b1c1b921e1a5610e9b7f6ccc69693a142807f4d09ac1ae53b61125f8a0e3efe1f11cb95f0e75dd49231dc0aa02aa3e72045783cb27ecfb591cdae658b04fd75e3f68968da6710f3a08ec3dc84d1eb04fac0e337b21d47560d457b58ad7f6'  b'4700ff1e59ab778d0013a08a07f9733c31daab4375ce1b44b39e9426d26963dff9a87601533d3a7c326849248ee8f0ab6f9677c8b19c198f3da107a76a10bda99dfec628136c5dd7508ec2c7546db32eef7027ed91d8dffe1c64672d41b5d848478bb2ae8c41c62f3305b29005912965a222948a77a81de7cf59cfd745c4a469d595d50432ce05704e7e4e8edadeb250cb792780a410223d4810e72bc67ddba39b7c5d0bf48e6aea508f2dec5c1a2573210610c412f4020d3e0bd130'
b'4700ff1f2b05cbec47587f67c444b52f95d51cf52f2e54ad60cb2089015c1286b88bde1ada2290f7de9a8955c112d122dd83884127a85d60d783d0c7ac62ce7d2176d98f8b7ffa82c45d661394e3f6765ba4226e030c485f709f8cd57da40dfbaceed7332d82f4dc8bce05ca6ed5bc3262399b606f9c16daada74b65691729a48659f63aa847c96d41467a98134ee2eda6edf7e5569f3b5ec04fc274d8026bf182542be6529985159df52fda6db38908853577ac3ecb716126186b3a'
b'4700ff10625a2814a692660f91c9802011f0cfefd21029bc4d574921a5ff61daed60f4865765272d7885a5f6d1f00a6b911566041f9b09d5fb8543286f027e5d1790c883e9fc30f11e67e64b4eba58845563976d5055333c9b5292c28b202dd74457d7900356ce4581e63e7be76ac741685039f37f345adcaab4d77c38b9cc98c9969dbd5016b361c6a641b60f76773f3b0e11fee995bded7012f80fad299ca44c4a7c4715114c52edcaf44521d1bbe12cddb89a4711094a8853920d'
b'4700ff1179fb10469aedae24c5e85cdda33de151c1bd83e8f7573f44d101d3a11b42ba9599c02f134a4bd4795e5afcdade291bc1a3e8a1da4da150cbe94c863e8cd0c04ce686333af6ba25f2f645170c387c4346df8c7e85cda2be546136e09e12b612104ada9990c12d745e1de68a587114c9e268b1e14dd5f68c5037ed2c3acb2aa65e988ac990f2ae1089e962ffd495e5580e8f3525fa3386ed752432d443ff3ca93ce86a20b9114c3d2554b5e701e41d9548c903a3c17498a49b'

So as you can see each packet starts with 0x47 which is the sync byte. I have all kind of PIDs inside the TS. Here I have shown only the VPID 0x00ff. The 0x47 is the sync byte and immediately after it comes the PID.

[EDIT]: I have uploaded the binary file here: wetransfer_link

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

b'4700ff1de05ca7686c2b43f5e37e6dafd388761c36900ab37...

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

a7686c2b43f5

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

First left-shift the initial 4 bytes by 1

a7686c2b << 1 = 14ed0d856

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

43 >> 7 = 0

Bitwise-OR the above two results.

14ed0d856 | 0 = 14ed0d856

The above result is the first component C1.

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

(43 & 1) << 8 = 1

Bitwise-OR this result with the 6th byte

100000000 | f5 = 01f5

This is the 2nd component C2.

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

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

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


Adobe premiere cc 2017: Archive (clip) After rendering, gets too long, why? Adobe premiere cc 2017: Archive (clip)
 After rendering, gets too long, why?

1-I download the file of size 5MB www.youtube.com/watch?v=j648ZWxh5UE of Youtube
2-Import for TIMELINE
3-I do not do anything (no cut, no insert, no effect)
4-Control M
5-Set with the same parameters as the original
6-Command to render.
What is the result? Generates a very large final file, 27MB (changed from 5MB to 27MB)!
Can anyone explain? It should not be a file of the same size as the original, because it was not cut, nor spliced, nor put effect and the same parameters of the original were kept in audio and video.
I am a beginner of ADOBE PREMIERE. Can anybody help me? I would be very grateful. Yes, I really want to thank MoritzLost, he helped me a lot with a previous question. hug

First thing, when you want to export it your desired format(for example : H.264 format,H.264 is also known as MPEG-4 AVC. Developed for use in high definition systems such as HDTV, Blu-ray and for low resolution devices) you have to customize the export settings.

The two factors which determine file size are program duration and bitrate.  The longer your program is, the larger the file will be.

But the bitrate is, Choosing Uncompressed will have the highest bitrate possible.  Choosing an MPEG variant (MPEG1, 2 or H.264) will allow you to lower the bitrate (and hence create a smaller file) while still achieving acceptable quality.

Under the export settings you are getting the Preset.You can select a preset the way you want it.But keep in mind choosing the correct Preset with the FPS(Frames per Second).Choosing a lower FPS would reduce the quality of the video.

In this issue it's recommended to use the resolution of the Original video(which is 720p) in the preset.You can change the FPS and check for the quality.Here is how you check the FPS of a video in Premiere Pro.

Choose the exact resolution if you want to get the same file size Under the video tab in the export window.Change the level (which constrains encoding parameters bitrate range and FPS)and you can get the actual file size by changing it.You will see the estimated file size below. This is not recommended as it reduces the quality.

You can customize the export settings same as the original and you will get the file size you mentioned which is 27MB.That's how you got 27MB for the file size.

Note: Codecs do the magic!.


Alternative for 'create shapes from vector layer' for edit possibilities in Ai How to keep editing possibilities in Illustrator after the Ai file is used in After Effects?
I use the Lottie files Bodymovin plugin to export my animations to JSON files for use in mobile apps and websites. After creating shapes from the vector layer (Ai layer), I can't edit the illustration in Ai and get this change in my AE animation (just as is possible using regular Ai layers-not converted to shape layers).

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


Recording a two speaker event with large audience We are doing regular events with two speakers on the floor who have their own presentations in parallel.

The event is a live hacking presentation, one speaker is the moderator and victim, the other one is the attacker who shows his virtual machines on his screen.

Until now, we have recorded those sessions with a single camera and without external microphones.

The audio quality is therefore quite bad, especially when there's much noise from the audience.

The presentations are also not very good readable because the camera is set up in an odd angle to catch the speakers without interfering with the audience.
What would be the best setup to catch such events?

I was thinking of recording both speakers with an external microphone on the floor and two cameras for each presentation.

Is this feasible?

Should we also do a screen capture to cut them in, synchronized with the speakers?

If I was doing it I would probably give both speakers a wireless lavalier (lapel) mic, and record each to a separate channel. I would have two cameras (at least), one generally staying wide (which can be a static camera if you don't have more than one operator), and one getting close shots, and following on the action or dialogue, so when one of the speakers is speaking it focuses on them.

You use the wide footage to cover the times when the close-up camera is switching back and forth. If there's a lot of to-and-fro dialogue between the two you could use a third camera, or frame the closer shot as a two-shot. If you can shoot in 4k and you're releasing in HD you can also shoot wider and use cropping to get close-ups.

You could also get audience reaction shots and as you said, the feed from any AV presentations should be recorded too. Keeping the cameras out of the way of the audience can be tricky, if you have long lenses that helps, because you can move them to the back, but it depends on the geometry of the auditorium and the gear you have available.

Lastly, the best way to edit the separate streams is to use the multicamera editing capabilities of your NLE. Premier, FCP, resolve all can do multicamera editing, and so do most of the other major NLEs. Using multicamera means that once you've synched the cameras (use the on-board sound from each camera to do this) you can watch them all playing simultaneously, and choose which angle to cut to with the keyboard, a bit like a live vision mixer. It means you can edit at close to real-time once you get the hang of it.


Is it possible to see room noise? In Adobe Audition, using any of the visualisation/analysis tools, is is it possible to see and isolate, then remove room/background noise?

Was wondering if there are certain frequencies that human voice operates within thus allowing the rest to be minimised or deleted.

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

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


Use markers in After Effects as triggers for a particular animation I have a one precomp animations (from stocks). And I am searching for a script /expression that will automate a certain animation for my project.
I have a long videos with premade subtitles srt file and I want to use subtitles timestamps  (not a subtitle text content!) convert them to markers an link that one animation precomp to each and every starting marker on a specific AE layer. Finally I wanto to trigger an animation precomp by starting markers of on a layer.

Suppose I have 3 hour video with 30 captions in a one .srt file.
I import a video then I import .srt file via pt_importsubtitles (it will convert stamps to markers) and I will have a video already in sync with 30 imported markers on a АЕ layer from a one .srt file.

Importantly, I do not interested of any imported text captions (although it will be good if text will be imported to marker's comment field) but only thing I am interested is (markers) timstamps of a srt file.

I want to buy a script that will link a precomp to bunch of (timestamps) markers.

Only thing i found is this video

Any help for a complete dummy in AE?

Markers are a special time of key, basically you can think of them as keys on a property of the layer called "marker", just like you can use keys on say, the position property. To access a marker on a layer you use

var myMarker = marker.key(n)

where n is the number of the key you want (counting from 1, not zero. WTF Adobe?) or alternatively:

var myMarker = marker.nearestKey(time)

Which will give you the nearest key, which can be ahead of or behind the current time.

Once you have the markerKey object you can get its time, duration, index (useful if you used the nearestKey method), and all of the metadata that can be stored in markers (quite a lot). Details about all the marker properties here. For example, if your marker has a comment, you can get the text of the comment thus

var myMarker = marker.key(n);
var theComment = myMarker.comment;

You can access comp markers too, just use

var myMarker = thisComp.marker.key(n); //or
var myOtherMarker = thisCom.marker.nearestKey(time);


Slow HD video whilst editing I use Adobe Premier 5.5 to edit my videos. I have always seemed to have slow editing.  I upgraded the PC which now has

8 Core
16gb of DDR3 2333mhz ram
1gb 460 gpu
6 hard drives, 1 is SSD

So, I think that it's my hard drives which are slowing everything down. I wonder if the amount of HDD's I have that is slowing it down, even whilst on my SSD it's still visibly lagging.

If you have a 8 core CPU I'd bet it is a fast one too, so that shouldn't be a problem. 16 GB is more than enough for HD, and DDR3 should ensure the speed.
The GPU shouldn't have much to say as long as it's not crap.

If you have 6 slow harddrives, it would be a bottleneck. You should have at least 7200 rpm disks!


Start and stop capturing while video is playing I have a long video that I am trying to shorten.  I want to be able to play through the video and, while it is playing, select the points at which I want to start and end my clips.

I want to do this for multiple clips until I play to the end of my video without having to stop.  Some of my clips will be very short shots so it needs to be fast enough for that.

In the end I should have a shorter version of my video composed of all the pieces I've sliced.  This way I can quickly achieve a first draft of my edited video.  Later I can slowly improve it and fix all of my mistakes.

I would like to know how to do this with Premiere. If it is not possible, do you know any other editing software that can do this?

There are two main way I can think of to do this, the first, which requires a little work after the fact, but certainly won't interrupt your play back, is to set marker points as you watch through the timeline.  Put the entire video in the timeline and then use the M key to place timeline markers at each point you wish to make a cut.  After watching through, you can place razor cuts on each marker and ripple delete every other section.

The other option, which I'm not sure if it will work without interrupting playback or not, is to set in and out points using shortcut keys.  I will set an in point, O will set an outpoint and Ctrl-K to add the edit to the timeline.  If that does end up interrupting playback, there is one other option that might work indirectly.

You could also try using a multi-cam edit with nothing on the second track.  This would let you monitor what is on your main playback and you could cut to and away from it whenever you like.  At the end you would just have to remove the empty space and get rid of the other track.


How do I drop certain amount of seconds in VirtualDub? It seems the simplest thing you can do with video -- crop space or time dimensions. There is a video how to crop the spacial dimensions (although null transform filter does not seem to crop the selected region for me). Now, I want to drop first n seconds of my video. How do I do that with the notorious editor?

Move the timeline slider to the start point you want and set the Mark In point. The Mark In/Out buttons are to the left of the frame count display at the bottom.


What are some GUI that allow me to cut sections from a video without re-encode? To illustrate: Say I want to delete the 10-11 minute point of a 20 minute video and create the new video of 19 minutes without re-encode. Same as described in the link below; think: removing commercials from a tv show.

https://superuser.com/questions/681885/how-can-i-remove-multiple-segments-from-a-video-using-ffmpeg

I was trying to do the above with ffmpeg, but without re-encoding. I currently can do it by using each command separately i.e.:
    ffmpeg -ss 00:00:00 -i input -to 00:00:00 -c copy output
And then I'd concaticate the pieces I want together.

I looked up how to find the nearest i frame to try and get more accuracy when choosing times. But putting all this together and checking the video after getting each piece of information...turned into a very inefficient process.

So I wanted to know if there are any gui (video editors) that support this functionality of ffmpeg in a more manageable manner. I mean the simplest and ideal process I can think of is: I toss the videos in the editor, i click an option to disable re-encoding, i choose the sections I want. Then it just chooses the nearest i frame to my cut choices (if it displayed the i frame that would be good too) and does all the above stuff.
I don't have much experience with the modern capabilities of video editors. The ones I have used have very limited functionality when it comes to rewrapping/'no-encoding' compared to ffmpeg command prompt, or just always re-encode to begin with. So I'm just curious if there are editors that have the kind of re-wrapping functionality that ffmpeg command prompt has. Otherwise I'll need to pursue the solution from a scripting perspective, of which I know nothing about.

LosslessCut is an open-source video cutting tool. Its interface is built using Electron, and its backend is ffmpeg. It's available on the three main operating systems (Linux/Mac/Windows), and also from the Mac, Microsoft and Snap stores.


How can i receive video feed from my hardware video switcher to my pc live im using presentation software on my pc which is connected to a projecter to add effects to my live video, our cameras are connected to a hardware video switcher, and i need to receive that live video feed to my pc so i can add effects to it and output to my projector, so i need to know to receive that live video feed.

You're doing it wrong.  Key from your effects source on to your live video with the switcher.  You will get much lower latency and better performance.  Alpha keying is ideal if your switcher supports it, but depending on what you are doing, luma keying (or less likely chroma keying) may also work.

There are a select few situations that may actually merit running the video through the computer as a filter, but they are pretty few and far between and most likely don't apply here.


Video production client contract I currently work as a web developer, but have recently set up a small production company on the side.

I've secured my first project and sourced a crew. Before the project begins, I need to create a contract between myself and the client.

I'm finding it difficult to source a good general contract for video production that I can amend. Can you recommend where I can find such a contract or whether I should write one from scratch? I'm happy to pay for this.

Writing one yourself is never a good idea. If you're willing to pay, why not hire a lawyer?

There are places on the net where you can find boilerplate, for example FilmContracts and FilmMakerIQ, but if there's real money involved your smartest move is to get local legal advice.


Trying to reproduce a slow shutter speed effect using a gopro Is there a way in post to simulate the effect of a slow shutterspeed shot that leaves trails behind bright things in the shot that are moving. I was thinking if I recorded something at a high frame rate then used some sort of compositing filter that multiplies the frames that might do it. I feel like that would also cause darker things in the frame to also come out blurry or leave trails. Here's an example of what I'm trying to reproduce with a sparkler from a pit bull video example

Try the Echo effect. To avoid echoing the darker portions, duplicate the source and apply the echo to it; experiment with the compositing modes and also layer opacity.


creating a lossless mp4 screencast I'm trying to create a screencast for playback on the web. Would like to use h.264, webm, and ogg. The source files are in the Apple Animation codec, and they look perfectly accurate. However when I try to convert to mp4 using ffmpeg lossless settings, there is some definite degradation. It seems to be because the source is RGB and ffmpeg auto-selects yuv420p instead.

Incompatible pixel format 'rgb24' for codec 'libx264', auto-selecting format 'yuv420p'

Anyone know how to get the same color accuracy with mp4/h.264 as with Apple Animation?

Thanks

H.264 does support true lossless compression (see 'Lossless mode' on this page). It seems that to avoid chroma format conversion, you need to encode using the Hi444PP profile, which accepts RGB pixels. However, a cursory search indicates that x264 doesn't support Hi444PP (yet), whereas some commercial codecs like MainConcept do.


FFmpeg No such filter error I'm trying to use FFmpeg to create a new video with some frames repeated and black frames inserted inside. Here is my command:

#! /bin/sh
fn="Drifting with Cars.mp4"

#
ffmpeg -y -i "${fn}" -ss 00:00:05 -to 00:00:06 -r 1/1 _05.png
ffmpeg -y -i "${fn}" -ss 00:00:10 -to 00:00:11 -r 1/1 _10.png
ffmpeg -y -i "${fn}" -ss 00:00:15 -to 00:00:16 -r 1/1 _15.png
ffmpeg -y -i "${fn}" -ss 00:00:20 -to 00:00:21 -r 1/1 _20.png
ffmpeg -y -i "${fn}" -ss 00:00:25 -to 00:00:26 -r 1/1 _25.png
ffmpeg -y -i "${fn}" -ss 00:00:30 -to 00:00:31 -r 1/1 _30.png
ffmpeg -y -i "${fn}" -ss 00:00:35 -to 00:00:36 -r 1/1 _35.png

#
ffmpeg -y -i "${fn}" \
-i _05.png \
-i _10.png \
-i _15.png \
-i _20.png \
-i _25.png \
-i _30.png \
-i _35.png \
-filter_complex "
[0:v]trim=0:5,setpts=PTS-STARTPTS[0v_1];
[1:v]loop=loop=25*3:size=2
,drawtext='fontsize=40:fontcolor=0x0000FF@0.7
:text=pause -> fade-out':x=920:y=20:shadowcolor=black@0.7:shadowx=1:shadowy=1
,fade=t=out:st=2:d=1[pause1];
[0:v]trim=5:10,setpts=PTS-STARTPTS
,fade=t=in:d=1[0v_2];
[2:v]loop=loop=25*4:size=2
,drawtext='fontsize=40:fontcolor=0x0000FF@0.7
:text=pause -> fade-out':x=920:y=20:shadowcolor=black@0.7:shadowx=1:shadowy=1
,fade=t=out:st=3:d=1[pause2];
[0:v]trim=10:15,setpts=PTS-STARTPTS
,fade=t=in:d=1[0v_3];
[3:v]loop=loop=25*5:size=2
,drawtext='fontsize=40:fontcolor=0x0000FF@0.7
:text=pause -> fade-out':x=920:y=20:shadowcolor=black@0.7:shadowx=1:shadowy=1
,fade=t=out:st=3:d=2[pause3];
[0:v]trim=15:20,setpts=PTS-STARTPTS
,fade=t=in:d=1[0v_4];
[4:v]loop=loop=25*6:size=2
,drawtext='fontsize=40:fontcolor=0x0000FF@0.7
:text=pause -> fade-out':x=920:y=20:shadowcolor=black@0.7:shadowx=1:shadowy=1
,fade=t=out:st=3:d=3[pause4];
[0:v]trim=20:25,setpts=PTS-STARTPTS
,fade=t=in:d=1[0v_5];
[5:v]loop=loop=25*7:size=2
,drawtext='fontsize=40:fontcolor=0x0000FF@0.7
:text=pause -> fade-out':x=920:y=20:shadowcolor=black@0.7:shadowx=1:shadowy=1
,fade=t=out:st=3:d=4[pause5];
[0:v]trim=25:30,setpts=PTS-STARTPTS
,fade=t=in:d=1[0v_6];
[6:v]loop=loop=25*5:size=2
,drawtext='fontsize=40:fontcolor=0x0000FF@0.7
:text=pause -> fade-out':x=920:y=20:shadowcolor=black@0.7:shadowx=1:shadowy=1
,fade=t=out:st=3:d=2[pause6];
[0:v]trim=30:35,setpts=PTS-STARTPTS
,fade=t=in:d=1[0v_7];
[7:v]loop=loop=25*3:size=2
,drawtext='fontsize=40:fontcolor=0x0000FF@0.7
:text=pause -> fade-out':x=920:y=20:shadowcolor=black@0.7:shadowx=1:shadowy=1
,fade=t=out:st=2:d=1[pause7];
[0:v]trim=35,setpts=PTS-STARTPTS
,fade=t=in:d=1[0v_8];

[0v_1][pause1]
[0v_2][pause2]
[0v_3][pause3]
[0v_4][pause4]
[0v_5][pause5]
[0v_6][pause6]
[0v_7][pause7]
[0v_8]
concat=n=15:a=0:v=1[v]
" -map '[v]' -an "DriftingWithCars_pf.mp4"

But when running (the filter part), I get the following error:

[AVFilterGraph @ 0x2261560] No such filter: 'loop'
Error initializing complex filters.
Invalid argument

What is the problem? Where does it come from? I'm using an updated version of ffmpeg: version 2.8.15 Copyright (c) 2000-2018

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

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

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


Remove deadair periods in video I am doing a video recording for a powerpoint presentation, and sometimes I have some seconds of (idleness) during the recording (where there is no change in the presentation nor speaking audio). For user experience reasons, I prefer to remove all such parts that are longer than 1 second (to keep the video engaging).

I am currently doing this in a manual way, but it is an extremely time-consuming process.

I was thinking if there is a way to automatically (using a tool or a filter or so) remove such parts in the video.

You can use awkward pause script as sample and this tutorial:

Or I can do for you this project for some money :)