Text Animations - Range Selector Not Moving - After Effects I am trying to animate the position of my text to create a text animation (as seen here) and I have followed these exact steps:

Created a text layer Clicked "animate" and chose "position"
Renamed my Range Selector to "initial position"
Added a keyframe with the End set to 100
Moved forward a few frames
Added another keyframe with the End set to 0

When I play the animation, nothing is happening. The text remains on screen without any movement.

What am I missing? I followed the YouTube tutorial step-by-step so I'm lost as to why it doesn't work for me.

Have you adjusted the Transform Position, to make the letters move downwards? The Range Selector only tells AE which letters you want to affect. The transform position tells it how far and which way you want the lettters to move.


FFmpeg, how to record game over than 30 fps? Im trying to record Windows Desktop, a game (Worms Armageddon) which has about 50 frames per second. If I check it closely, I can see some frames are missed. The command:

ffmpeg -probesize 10M -rtbufsize 1500M -f dshow -i audio="virtual-audio-capturer" -acodec pcm_s16le -f gdigrab -framerate 60 -i desktop -vcodec libx264 -qp 0 -threads 0 -crf 0 -preset ultrafast -tune zerolatency output.mkv

what else can I do?

This might be an issue with the hardware unable to keep up with the required process of recording (compression) and writing to disk, which will result in dropped frames. That being said, your flag for crf should increase by a ton, and remove the qp flag. Set the crf to 17-25 to ease off the required processing power.


put a logo on sportsfloor adobe software I try to put a logo in a video but I want it to be on the floor where people walk over it.
With blending it is still on the person so how can I best act in this way. Does anybody knows a good tutorial or can easily explain what I have to do?

The sporter in the video will run over the logo. from several angles.
Hope someone can help.

If video was made without any preliminary preparation, you most probably shall use rotoscoping. You can see tutorial for After Effects here.

However, if floor is monocolored and it will not blend with any leg parts, you can try to separate its part for the logo, and use keying on it. But most probably it will be messy.


Keyboard shortcut for "Add clip to conversion list" in GoPro Studio? Cutting videoclips in GoPro studio is pretty easy:

Press I for Mark In, O for Mark Out and Space for pause/continue. Editing a video would be pretty much faster, if a keyboard shortcut could be also used to add a videoclip to the conversion list, instead of clicking the button with mouse.

Is there a shortcut for the "Add clip to a conversion list", or is it possible to somehow make one? The answer can include usage of third-party programs such as Autohotkey etc.

My operating system is Windows 7.

If you google GoPro Keyboard Cover there is a skin with all the shortcuts on it - from GoCam Accessories I think it's called.

Edit: Just realised I could paste a link:

http://www.gocamaccessories.com/shop/gopro-studio-keyboard-cover-for-macs/


How to create youtube overlays? If you look at this video by FunForLouis:

You can see that there are three overlays that link to other content of his. I was wondering if anyone else has found how to do this themselves.

EDIT: Upon further research, this only seems to be available to high-tier YouTube Creator accounts. I haven't been able to find an example of this from an account with less than 1M subscribers. Here's the Creator tier levels:

https://www.youtube.com/yt/creators/en-GB/benefit-levels.html?noapp=1

ORIGINAL: This is a feature called "Cards" on YouTube. Your account must be in good standing to use this. Go to your video and hit "Edit" then navigate to the "Cards" menu. Here, you can add cards and select the content you want to display. Up to 5 can be added on one video at a time. Here's some documentation and a tutorial:

https://support.google.com/youtube/answer/6140493?hl=en

Hope this helps!


gopro hero vs gopro hero4 black video quality diference I want to buy gopro camera,
I see there is big diference in price e.g.

http://www.gopro.hr/kamere/p/GoPro-Hero/ProductID/9426
cost $200

http://www.gopro.hr/kamere/p/GoPro-Hero4-Black/ProductID/19131
cost $600

big diference in cost, what is diference in quality of video, photo and options ?

There are charts on their website, but in short, the Black allows for 4k recording, 60 mbps bandwidth, higher frame rates at various resolutions, simply put, it has a larger bottleneck enabling it to capture more data.

I would suspect the cameras may be perhaps identical, and are firmware locked down into lower levels for the less expensive versions. Bypassing that would be, well very difficult if not impossible.

The Blacks are great, I own a handful and use them all the time.


What is the most efficient way to split up raw video into rough clips using Premiere Pro? I've got a few hours of raw video that I want to split into individual clips for later work. Being somewhat new to Premiere, I'm not too sure of the workflow for doing this.

What I've been doing so far is scrubbing through the source video and hitting the m key to leave a marker where I want the breaks to be (bonus: if I hit the key at the wrong time, I can just drag the markers around).

So far so good - now I want to use those markers to slice the video accordingly.

How do I do this?

Better yet, is there a better workflow for this process?

You're probably better off making subclips.

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

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


What's the best way to visually compare codec compression? Maybe I'm mistaken, but a long while ago I seem to have read an article about comparing videos encoded by different codecs.
Basically what I think what was done, was to put them together in a timeline - and by use of some effects - "null" them so you could only see the difference.
Now that I'm writing it down, I'm not so sure anymore - but I just wanted to check if someone knows a way to efficiently compare codec compressions.

I can only think of 2 perspectives: industrial and recreational.
Industrial: visual examination is super expensive, you may take a look of how Netflix do the comparison https://netflixtechblog.com/performance-comparison-of-video-coding-standards-an-adaptive-streaming-perspective-d45d0183ca95
Recreational: you may check out youtube with codec comparison e.g.

             or doom9

Hope this answers your questions.


How do I remove excess video duration in ffmpeg when using lavfi? My goal is to take clips that last over 40 seconds and overlay them on a background, then trim the total time once the clips and background fade out.  It works great, except the seeking goes up to 24 seconds even when I specify 21.

ffmpeg -y -framerate 60 -loop 1 -ss 0 -t 21 -i ~/Desktop/FP2.tiff -ss 0 -t 21 -i ~/Desktop/fp.mov -lavfi \
"[0]fade=t=in:st=0:d=1,fade=t=out:st=20:d=1,trim=end=21[bg]; \
[1:v]setpts=(PTS-STARTPTS)+1/TB,fifo,fade=t=in:st=1:d=2,fade=t=out:st=15:d=2[fade]; \
[bg][fade]overlay=10:(main_h-overlay_h)/2:format=rgb[v1]; \
[1:v]setpts=(PTS-STARTPTS)+3/TB,fifo,fade=in:0:120,fade=t=out:st=18:d=2[v2]; \
[v1][v2]overlay=460:(main_h-overlay_h)/2:format=rgb[video]; \
[1:a]adelay=1000|1000,stereotools=muter=1,afade=t=in:st=1:d=2,afade=t=out:st=15:d=2[a1]; \
[1:a]adelay=3000|3000,stereotools=mutel=1,afade=t=in:st=3:d=2,afade=t=out:st=18:d=2[a2]; \
[a1][a2]amix=inputs=2[audio]" \
-map [video] -map [audio] -c:v ffv1 -level 3 -c:a pcm_s16be ~/Desktop/filtergraph.nut

You can see this in ffplay; the background will fade completely by the 21 second mark, but the video itself ends at 24 seconds.  How do I get them to match exactly?  I'm aware I can use -ss and -t after the inputs, but that method can be slow if you intend to use a start point past 0.

You are feeding 21 seconds of audio from the video file and then applying adelay=3000|3000, hence 24 seconds. Add atrim=end=21 at the end to both your audio filterchains.

And

Add shortest=1 to both your overlays.


Import secondary audio track along with video mpg into Adobe Premiere Pro I've been trying for hours to import an mpg along with its secondary audio track into Adobe Premiere Pro.  Only the primary track is imported.

I know this mpg has two tracks because I can play the file in the VLC player with the setting Audio > Audio Track > Track 2 [Spanish] and the secondary audio track plays.

I have tried setting audio preferences insuring all default audio
tracks are using "Use File".
I have tried setting the track tab in a new sequence to
"multichannel" with "number of channels" = 2.
I have also tried modifying the imported mp3's audio channels.

I have also searched online and in YouTube but still no answers.

Please advise.  Thanks!

According to this post, it should work with Adobe Premiere CC.
And after importing it should look like this:

If you are using a really old version of Adobe Premiere, you could download the latest trial version to check it.


How is a multi-angle scene filmed? There is a great scene in a popular TV series.

In this scene, a clerk (in a white-and-blue dress) is shown from 3 angles.
Each angle is around 7 seconds long.

I wonder how they filmed it.

Did they have 3 camera sets all filming at the same time, or did they record this scene multiple times?

If they filmed the same scene multiple times, how many times are standard in professional movie making?

And how is responsible for such decisions? The director?

Thank you!

Shows can be either "Single camera" or "Multi camera."  Sitcoms, shows broadcast live, and stuff shot in front of a live audience is generally multicam -- they do it once, or as few times as needed to get a good take.  They just have three (or however many) cameras, and cut between them.

Other stuff is Single camera.  Some "Single camera" stuff actually has two cameras rolling when it's convenient, or maybe a rare action shot where they had a whole bunch of cameras running to capture an expensive stunt or something, but it's still considered single camera style work.  I expect Better Call Saul is shot this way.  Basically, you do many "setups" where you typically tweak staging and lighting for each camera setup and do the scene or part of the scene over and over.  There is usually some piece of equipment just off screen in any given shot like a light stand or a boom mic so each shot is as nice as they can make it, but if you shot it from another angle at the same time you'd see equipment or crew, or it just wouldn't look as nice.  People and objects get moved around between shots to get nice framing, and you never really notice that a table moved a few inches or whatever.

As for how many times, ultimately the director decides.  Some directors are lunatics, and a certain scene in a film with a long schedule may get shot hundreds of times for variations on performance, angle, etc.  Some directors are more efficient and a scene might only get shot like a dozen times if you do three takes for each of four angles/setups.  Some directors will work closely with their crow in deciding these things -- often the cinematographer will have a lot to say about how many angles they need to get to cover the whole scene, and which shots will be most interesting.  In a few rare cases, a whole scene will get shot just once, if it's something that is a big expensive stunt.  If you only have one car, you can only blow it up once, so you just have to try to get it right.  There was a scene in the documentary TV series Connections where the presenter timed his monologue to the countdown timer of an actual NASA rocket launch of a space probe that was visible in the background.  Obviously, they could only get that shot once because you can't go to NASA and ask them to quickly launch another 100 million dollar space probe because you got a little tongue tied.  Though, I assume they got a few takes without the rocket launch as well.


Making a YouTube video from powerpoint presentation file with embedded audio file I have a power point type file (.odp in ubuntu linux) with embedded audio file in it for presentation. How can I make a good quality YouTube video from that? I have used kazam screen recorder for that. The video resolution looks good but after uploading it in YouTube the resolution get worser.

https://support.microsoft.com/en-us/office/turn-your-presentation-into-a-video-c140551f-cb37-4818-b5d4-3e30815c3e83

On the File menu, select Save to ensure all your recent work has
been saved in PowerPoint presentation format (.pptx).
Click File >
Export > Create a Video. (Or, on the Recording tab of the ribbon,
click Export to Video.)
...


how to change volume of audio at specific time in audio and add that audio to video(with audio) using ffmpeg command? I have two below command that is works perfectly for this question but how to work with one command?

Commands:

ffmpeg -i video.mp4 -i audio.mp3 -filter_complex \
"[0:a][1:a]amerge=inputs=2[a]" \
-map 0:v -map "[a]" -c:v copy -c:a libvorbis -ac 2 -shortest output.mp4

ffmpeg -i audio.mp3 -af "volume=150:enable='between(t,10,20)'" audiochange.mp3

Thanks in advance.

Use

ffmpeg -i video.mp4 -i audio.mp3 -filter_complex \
"[1:a]volume=150:enable='between(t,10,20)'[1a];[0:a][1a]amerge=inputs=2[a]" \
-map 0:v -map "[a]" -c:v copy -c:a libvorbis -ac 2 -shortest output.mp4


Convert mp4 to avi while keeping frame rate and quality and being able to play in QuickTime? I'm trying to convert an mp4 file to avi.
I've tried this basic ffmpeg script:

ffmpeg -i inputFile.mp4 outputFile.avi

It works, but:

the encoded avi file is very pixelated
does not work with Quicktime Player.

I've also tried using these settings (as described here: https://askubuntu.com/questions/83161/use-ffmpeg-to-transform-mp4-to-same-high-quality-avi-file)

ffmpeg -i filename.mp4 -vcodec copy -acodec copy filename.avi

But the problem there is that the MP4 codec is just copied into an AVI wrapper, and so the resulting video won't play in Quicktime Player nor Windows Media Player.

Can anyone suggest how to encode MP4 as AVI while still maintaining the quality and aspect ratio of the original while maintaining QuickTime compatibility?

An AVI file is just a container and can contain any codec, so if you want to encode to QuickTime and Media player, you need to:

ffmpeg -i input.mp4 -c:v libx264 -c:a libmp3lame -b:a 384K output.avi

and above means:

Use the h264 Codec which both QT and WPlayer can display nowadays
use 384 Kbps MP3 encoding for audio

don't touch anything else like frame rate, resolution, ... and copy these as is.


Making a collage of several videos I am trying to make a video showing me playing various instruments arranged together in a song. The effect that I want to achieve is exactly like this.
The person in the video is a friend of mine, and he told me he created the video using iMovie. But he was only able to mix two videos at once, so he resorted to mixing two videos, exporting, mixing together with another one and so on.
I already have the various snippets filmed, and I would like to put them together in a collage, but using a software that allows superimposing many videos at once ( at certain points I have eight). What kind of software allows this?
Ideally I would use a Mac, but Linux is also fine (as long as it does not need enormous amounts of resources, since it is an older machine)

Blackmagic Design’s DaVinci Resolve offers a free version, is available on Mac, Linux, and Windows, and is well-suited to creating video collages. One of the effects added in version 17 is actually called “video collage” and greatly simplifies the process over past versions.  Additionally, if you synchronize the timecode of all cameras before you start shooting a multi-camera event, it offers features like “live overwrite” and “sync bins” which simplify typical multicam edits.
Adobe Premiere is a viable alternative, but does not run on Linux, and is not free.
Final Cut Pro X is a Mac-only alternative, and also does not offer a free version.
Avid Media Composer is the other big-name player in the NLE space.


If an image under a CC-SA license gets used in video - must video be CC-SA? I want to use an image under CC-ShareAlike in my video. The image has not been changed, however I have applied a slight zoom & pan motion to the image in the video. The video contains other images which either have expired copyright or are under CC but not share-alike.

If I use the image under CC-ShareAlike in my video, does that mean I have to make my video CC-SA as well?

thanks,

Yes, that's the core condition of the CC-ShareAlike license. Any derivative or work that contains the image has to be distributed under the same license for the entire video. Even if you create a long video with only one image that is licensed under CC-SA, you will have to use the same license. Using a different license would be a violation to the terms of use. This makes it complicated to use videos and images that were distributed under diverse licences, which is the main disadvantage of the CC-SA license.


Is it possible to recreate VirtualDub Deshaker functionality in Adobe Premiere/After Effects? I'd like to automatically stabilize some poorly-shot shaky footage in Adobe Premiere or After Effects.

VirtualDub Deshaker analyzes frame motion, computes smoothing, adjusts frame position, scale and rotation, and does smart filling of the area outside a frame.

Is anything similarly powerful achievable using Adobe software, possibly via third-party plugins?

After Effects CS5.5 has the Warp Stabilizer (also check the video on the main Adobe After Effects site).


Quality loss when exporting motion graphics videos in Premiere Pro I am fairly new to Premiere Pro and I have been having an issue related to exporting my videos. All of the videos I am working on right now are motion graphics/animation videos. For these projects I create high quality images in Flash, export them as PNGs, and then use those images in Premiere Pro to create animations/motion graphics. The issue I'm having is that no matter what export settings I use, some of the images have obvious pixelation on them in the final result, and the colors seem to get slightly darker, even though they look perfect in the editor.

As an example, here is a side by side comparison on the image in the editor, versus a screenshot from the final exported video:

You will probably have to zoom in slightly to see the pixelation, but it's especially noticeable in thered are on the calendar image, on the orange circle attached to the email, and on the awning and sign over the shop entrance.

The pixelation issue seems to be most obvious with the red/orange/yellow colors, but I have also seen it with other high saturation colors and some dark blues.

Does anyone have any advice about why this might be happening and how I could fix it?

I've recently been reading about issues that can be caused by having "broadcast illegal colors". Could this be related?

I know that this issue could be occurring due to my export settings and sequence settings, but no matter what ones I use this still seems to occur. The primary export settings I've used are H.264 with Vimeo 1080p as the preset, since that is where I'm uploading, but I also tried a few others and didn't see any differences. For sequence settings I have also tried a few options including DNX 1080p, AVC-Intra 100 1080p, and Custom settings, but haven found any success.

I also read that I should try exporting with DNX HQ 1080p 29.97, but I don't know what to do with an MXF file, and some of the research Ive done shows Vimeo sometimes has trouble with them, so any advice there would also be appreciated.

Anyway, I think I've rambled enough for now. Any help you can provide would be greatly appreciated, and I'd be glad to answer any questions about the project settings.

Thanks!

There are 2 things causing this issue:

Chroma sub-sampling. This is explained pretty well in this answer.
Compression artifacts - For example, the mark above the "1"on the email notification is due to the way H.264 compresses data. This is known as "ringing" and is quite common with compression.

Some options for dealing with it include:

Avoid using saturated reds and blues especially in areas of high color contrast
Use a codec or codec settings that don't exhibit ringing (easier said than done when you're uploading to a video service that may recompress it)
Use settings to reduce how noticeable it is, such as turning on motion blur when exporting, so when things move, they exhibit softer edges

Unfortunately, the reality is that TV is terrible for pure motion graphics. The subsampling that occurs makes it impossible to have nice crisp lines in saturated colors. And unfortunately, most of the codecs that work on all platforms are made to deliver TV and movies to users.


How to sync the dubbed audio to original video? I have English movie Die hard in English having total length for example 1hour 30minute original time and dubbed movie length 1hour 28minute.how to equalize both audio.apparently it is impossible. how can i cut original English movie so that i can equalize one video .I can cut but it is difficult to find out from which scene i cut the movie.i want to make dual audio movie.is there any software that can do this?

I've had the same problem where the video and audio were compressed separately and came out with as two different lengths.  Even just a half second difference will mean that the audio at the end of the video will be out of sync a half second.

I don't know what editor you are using, but I'm using Sony Vegas.  So I'll give you the steps for it then just adjust for your editor.

First un-group the audio and video files if they are grouped by pressing U.
Synch up the first sound or word in the video with the audio.  It will be out of sych at the end, but that's okay for now.
Convert the length of the video into seconds and the actual length of the audio into seconds.  For your example you said it was a 90 minute video (5400 seconds) and an 88 minute (5280 second) audio.
Now divide the larger file by the smaller file.  5400/5280 = 1.022727
Now you know that the audio has somehow become 2.2727% shorter somehow.
Now you can right click on the video in your timeline and set the playback rate to .977  - This will shrink your video down to match your audio.


How to handle video with different frame rates in Lightworks? Most video editing software allows me to import video of different frame rates, but Lightworks either does not have this feature still, or I cannot find it (on Lightworks or on the internet).  Does anyone have any tips?  I would really like to use Lightworks, but using multiple cameras (one of them being an iPhone), and shooting in slow motion, makes this a deal breaker.

Looks like you will need to transcode all clips with frame rates not matching the project's frame rate:

  If the frame rate is of a clip is not compatible with your project, it
  displays in red.  You will be unable to import the clip into your
  project.  Clips with incompatible frame rates may be playable in a new
  project set to the  same frame rate as the clip.

(page 40; User Guide)

You can use ffmpeg, a command line tool, to transcode such clips with commands of the form

ffmpeg -i input.mp4 -c:v libx264 -crf 8 -r 25 -c:a copy -map 0 input25.mov

Edit: should make clear that 25 should be replaced with the framerate of the project. NTSC 30d i.e. 29.97 fps is denoted as 30000/1001 and 23.976 as 24000/1001.


Reference for creative color grading I'm a looking for a good reference on how to color grade footage for a "cinematic" or "filmic" look. The best I have found are scattered YouTube videos; I'm looking more for general principles and ideas. I do not need any instruction on how to use grading software like Resolve, and I can get to color-correct grade using a Color Checker chart and gray card; I'm interested purely in the creative and artistic aspect of grading.

(Actually, I care more about grading still photography, but it's largely the same, and the video community seems much more advanced and organized in this area, which is why I ask here.)

Are any good references available? I have Alexis Van Hurkman's Color Correction Handbook, but this was mostly about use of Resolve and getting a color correct grade. I also looked briefly at the sequel, Color Correction Look Book, but most of the material was about imitating the flaws of film (e.g. light leaks and grain). I don't want the flaws, just the colors.

Thank you!

I am sorry that I do not have an exact answer to the question on the title.
But here is the core of the question

I'm looking more for general principles and ideas.

So here are my two cents:
1. Focal length and aperture
Yes, I know. I started with something is not controlled by color grading, but it needs to be said.
2. Color correction
This is the first step, define what was the white balance and exposure and make them coherent.
On programs like Resolve, one node should be for temperature correction and another for exposure.
2.1. Shadows
Here is probably the first manipulation we need to make, Do we have a correct exposure of the shadows? Do we need to actually change a curve to show detail?
This is, for now, more than a creative manipulation but about Information. Does the shadowy part of the face of an actor need to be viewed clearly? Does he have a scar that does not show good enough and needs to be brightened?
3. Dynamic range, overall contrast
We are limited by the capabilities of the camera, but we can work around this, using illumination techniques, both positive and negative illumination.
Positive illumination is where you add light on dark zones where you have little light. One case is where you have a sunset behind the subject and you add a reflector to reduce the contrast.
Negative illumination is reducing the light of the bright part, either controlled by a filter or by shutter speed or something.
But when referring to color grading this element is more noticeable on one particular characteristic: Contrast.
So, you can play with the contrast. Sometimes reducing the blackness makes the image a bit more "filmish" or with a film substrate.
It is funny that you mentioned "Still Photography" because I will reference a post I made on that forum, no spam intended :o) https://photo.stackexchange.com/questions/110840/whats-the-biggest-difference-between-these-two-photos-of-large-animals/110884#110884
See how reducing the contrast, by graying the black point, make the image look with a higher dynamic range... This is funny because it is the opposite.
4. Middle tones
You probably want to maintain the middle tones accurate to the color corrections you made in the first place. But this rule can be broken of course. See point 7.
Play with the saturation.
5. Color on the shadows
So we actually need to start creative somewhere. A typical teal and orange look starts here, change the temperature of the shadows. Normally a shadow is a bit cooler than the highlights.
6. Now the light
Change the temperature on the highlights, blow them on a desert scenario, gray them and cool them on a moody swamp.
7. Middle tones again
To change the overall mood, you know the typical matrix example with green tones overall...
8. Forget everything
I or somebody say and play.
9. A side note about "cliches"
Especially for region-based, or country-based color recipes, this is a country that has some deserts... Oh, All the countries should be painted orange!
The US has some pretty big deserts, and you should not grade all movies orange.
The UK, London has some foggy days, not every scene should be desaturated... (or should they? Lol, sorry... I could not resist)
Some red alert scenario... Dam, we need the best light to work on a red alert scenario, not a red light!
Sometimes the cliche is annoying if overdone. Forget cliches, or use them, it is your call.


Why does HDMI out on my Canon 5D Mark III work with my TV but not my Lilliput monitor or BlackMagic Design Shuttle 2? Facts as I observe them:

I can use a mini-HDMI to HDMI cord to mirror my Canon 5D Mark III on my consumer Samsung television
I can use a consumer HDMI device such as an Apple TV to power my Lilliput monitor and capture over my BlackMagic Design Shuttle 2 -> UltraStudio Mini Recorder setup
I cannot use my Canon 5D Mark III to run HDMI over the  Shuttle 2 -> Mini Recorder

The video is set to 1920x1080 with 30fps. I know the BlackMagic devices like 720p59.94 and  and 1080p59.94.  I have up-to-date 1.3.3 Canon firmware and have default settings except for HDMI output + LCD setting which is set to Mirroring. I am set to P mode.

I've established a Computer<->Mini Recorder setup in multiple applications using the working input so I believe the issue to be between the camera and the devices receiving its HDMI out. The behavior of the camera seems to change when I plug its output into one of the non-working sources, apparently leaving movie mode. When connected to the monitor and I turn it off, the display returns from black.

My guess here is that the TV is capable of some wildly varying HDMI standards while my camera and/or BlackMagic gear is not. It may not be capable of handling whatever 1920x1080 30fps IPB output ends up being.  This seems relevant:

  -Has nothing to do with HDCP compliance, not required, so that is good.

  -If you have a display that does not work at 1080 in the live view mode with the Canon 5D Mark II it is probably attributable to one of
  two things: Native preferred timing not set to 1920x1080i in monitor's
  EDID or that the display type is listed as RGB color and default color
  space is listed as sRGB in the monitor's EDID.

Can anyone tell me what may be causing this apparently flippant behavior and for bonus karma suggest a workaround?

Some DSLRs output HDMI video that does not meet full HDMI specifications. It is not unusual to find combinations of source and destination gear that is incompatible.  The HDMI can be viewed on permissive screens (consumer TV receivers, etc.) but not on more professional gear that strictly adheres to the HDMI standard protocols.


Do old CRT TVs and monitors distort their image, or cut it off? I vaguely understand that an old CRT monitor/TV's screen is a section of a sphere, and since the section lines of a sphere curved, the edges of the screen are curved as well.

My question is, if you take a 4:3 image and one of these CRTs, is that image being stretched and 'fish-eyed' to fit the curved edges of this monitors, or does it appear square, but with its corners cut off?

In other words, is A or B correct? Note that the blue lines are straight. On A the image is square and orthogonal, and on B the image is warped to conform to the borders of the screen.

CRTs were originally round, as can be seen in this 1945 prototype. The cabinet masks off the outer parts of the tube to create the square viewing area. This is called overscan. Later tubes were more rectangular, but still relied on overscan. This was partly because as the tube aged, the scanned area shrank, so the cabinet would hide the blank parts of the screen. The front to back curvature of the tube is not accounted for in the image because every model tube had a different curvature and I don't think it added much distortion.

Curves at the rounded corners of the cabinet were also not accounted for because of the differences in cabinet. But that was part of the motivation for overscanning and for limiting important picture elements to safe areas.


How to make an onscreen timer graphic that counts down to different sections of the video? For an example of what I'm talking about, check out this youtube video (on the top left corner). I'm using Premiere Pro. I'd be willing to pay for a plugin that would make this simple, but I don't even know what it's called so I haven't been able to find anything from Google.

Any tips? I'd really appreciate it.

This is a very simple effect that can be achieved using the Radial Wipe effect (which can be found in the Effects panel Video Effects > Transition > Radial Wipe)

Using the 'Transition Completion' set one keyframe at the start at 100% and the second keyframe for the end of the clip at 0%. To match the effect in the example you have shown, change the wipe to Counterclockwise and find a circle or ring shaped graphic to represent the timer.

In this case the static red ring should be place in the background with no effect applied and the moving white ring should be placed above with the effect applied.

You could even use the Video Effect 'Circle' under Video Effects > Generate to create the circle.


"Flashbacky" transition in Hitfilm I have a small movie I'm making that is just a bunch of discussions and flashbacks to the past, I wanted to find an appropriate transition, that's like a flash transition. I saw a few ways to do that but they're hard to recreate all over again. Please, give me ideas for a transition like that that is easy to replicate, because i need to use it very often. Thanks!

A very simple one you can do is a transition that is dipping to white. If your editor doesn't offer this kind of transition you can do the following: add a still image which is all white, do a cross dissolve from scene A to the white still, then a cross dissolve from the white still to scene B. Ideally the first time you use it is when audience can infer clearly from context that scene B is a flashback, so that they recognize that this type of transition represents a flashback. Also you may add a subtle, short sound effect.
It does not look that fancy, but should be easy to do and many would argue anyway to keep your transitions clean and simple anyway.


Automating a large series of significantly similar clips in After Effects? I'm not sure how to phrase the question: I'm taking on a project for remembrance day; we're doing a video for the honour roll. Someone is going to be reading the honour roll while a band plays and a video plays in the background displaying all the names and photos of the individuals on the honour roll.

The 'slides' of each veteran are all going to be an identical layout, just the portrait and name will change, and maybe an old war scene BG.

I figure there has to be away to create some sort of template and then automate each individual slide for all the veterans by pointing to a folder or database and pre-composing a composition for each veteran, as opposed to manually replacing the portrait and name for each veteran and rendering them all out separately.

Even just knowing what performing this type of task is specifically called in After Effects would be helpful.

AfterEffects unfortunately lacks the built in batch operation features like you'd find in Bridge/Photoshop.

I would suggest a workflow where you set up your "Master Template".

Use drop zones, as in sub-compositions which are nested into a final master composition which is used to render the final file.
The drop zones would be specifically sized comps for the elements you plan to use. So if you drop a photo of a veteran into "Photo-Drop-Zone-Comp", and it's "crop ready" as in, all of your photos are the same size, cropped correctly, etc, it will frame up correctly.
Use Bridge/Photoshop to size all of your photos to the same exact dimensions with the same safezones so when dropped into the AE project they are ready to render out.
Do the same for the Names, a specific drop-zone composition which allows for short and long names so no issues come up.

FOR AUTOMATING:

Your best bet would be to write a simple automation script/program which works off an excel sheet with the Veterans names. AutoIt would be a good "free choice", but there is a learning curve. I personally use WinAutomation Enterprise, but it's a pricey platform.

But you could create a simple script in AutoIt to query each line in Column A from an Excel sheet, which contains the names of the Vets.

Column B would contain the "photo file name" which you could batch process in Bridge using a specific syntax.

Auto it would then open the Master Template and then:

Save Project As -> Column A(Vets Name).aep
Import -> Image from Row X Column B (Corresponding Photo)
Automate the drop-zone process
Automate the replace text process, pulling the name from the Column A data.
Add to Render Queue - Render Out

You could also script it to instead work within "One Master Project", and instead of saving a project file for each vet, it could create comps instead, so you could do a batch render when it's finished.

AutoIt would be a good choice to do this kind of automation. It's also free, with tons of resources and sample projects you can download online.


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

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

A polarizer could help reduce reflections, but the best way to do such a shot if you desire no reflections is to shoot it in a way that there are no reflections to reduce. How you can best do this depends greatly on how you want the finished scene to look, particularly what angles you desire light to be illuminating your actors and the car's interior. One obvious solution would be to remove the windshield altogether.

Just because a scene takes place in a car at night doesn't mean you must shoot the scene at night - or even in an unmodified car.

Many of the tricks of the movie trade involve shooting in conditions that barely resemble the final look of the scene on screen. This was true in the film days just as it is true in the digital age. The use of green screens, CGI, etc. has expanded the possibilities of what can be done to footage after it is collected but the practice of using lighting and exposure to make a scene look different than it actually was when shot has been around almost as long as motion pictures have.

Most of those 'night' scenes you see in old westerns were shot in daylight with an 80B filter on the camera and the film underexposed by a couple of stops. So much so that the 80B and similar blue filters were nicknamed "American Midnight" filters in Europe.

More than a few scenes in films with characters in cars were shot with the windshields and other glass (or even parts of the car's roof) removed. Often such scenes could be shot with multiple sets (glassless stationary vehicle, moving intact vehicle, fabricated sets resembling parts of the interior of the car) and edited together in a way that made them appear seamless.


Which video editing software is best compatible with RTL languages? I have to do some editing and add right to left text over a video, from past experience I've learned that some programs dont handle well RTL text, so if you can recommend from your experience about one that does it would be great. thanks.

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


How did ILM create the hyperspace tunnel effect? In Star Wars: A New Hope, right before the Millennium Falcon exits hyperspace, we see a "tunnel" through which the ship is traveling:

How did ILM create this effect in 1976?

NOTE: I am not referring to the "stretching star lines" effect shown when a ship enters or exits hyperspace as detailed by John Dykstra in a 1978 interview with the Fantasy Film Journal. I am specifically referring to the blue tunnel effect seen while the ship is still in hyperspace.

Although it looks like a slit-scan effect similar to the Tom Baker era Dr. Who titles, in this case, the effect was very simply made with mylar - a reflective plastic.  Due to time and budget constraints, there wasn't much they could do, so they made a tunnel out of mylar and flew the camera through it.  They apparently had a lot of mylar left from making the reflective background behind the starfield.


FFMPEG: hardware acceleration for libvpx I tried to encode mp4 4K with H.264 format to webm format using ffmpeg libvpx, I need to convert them to multi resolution 1080p - 144p.
I was run following command :

ffmpeg -i  source-4K.h264.mp4  -c:v libvpx-vp9 -s hd720 -b:v 1500k -keyint_min 150 -g 150 -tile-columns 4 -frame-parallel 1 -an -f webm -dash 1 out-hd720.webm

and I found that video from 360p and above are slowly processed, so I am thinking to use nvidia card (P4 card on Google Cloud) to accelerate the process. but I haven't found any articles / resources nor command to do video encoding using libvpx with hardware acceleration.

Libvpx has no hardware encoding or acceleration support of any kind, it's purely a software implementation. There are some VP9 hardware encoders out there but they're few in number and neither Nvidia or AMD have one. However, if you have an Intel CPU from the Skylake architecture or newer you should be able to use Intel's QuickSync hardware encoder built into their CPUs. I don't have the hardware to test it and don't know which OS you're on, but to use it on Linux I think you'd do something like this: ffmpeg -vaapi_device /dev/dri/renderD128 -i 16.mov -vf 'format=nv12,hwupload' -c:v vp9_vaapi -g 150 -bf 4 -compression_level 1 -bsf:v vp9_raw_reorder,vp9_superframe -b:v 15M -an 16_vp9.webm

You may find that the quality leaves much to be desired which is often the case with hardware encoders, most of them are built for speed over quality. So a better approach might be tuning libvpx for faster encoding. For starters you should use -row-mt 1 to enable row-based multithreading which can speed up encoding quite a bit, especially at higher resolutions and when you have lots of cores/threads available. Next you might want to adjust the encoding speed for HD resolution videos by setting -cpu-used 2. This is similar to x264's -preset option and it adjusts the speed/efficiency tradeoff. The default in FFmpeg is 1 which is the slowest most people would want to go; 0 basically triples the encoding time.

Depending on how old your version of FFmpeg and libvpx are, you might also want to set the number of encoding threads manually. I'm not sure which version of FFMpeg or libvpx changed this, but in the past you had to set your -threads by hand or else FFmpeg would only use a single thread for encoding. Also, the -frame-parallel option was removed from libvpx quite some time ago. It's ignored in the libvpx code so there's no detriment to using it, but it offers no benefit either.

I also recommend checking out Google's VP9 Encoding Guide. It's a pretty good reference on which parameters and bitrates you might want to use for different resolutions.


How to convert video to required codec? I am trying to convert mp4 videos to match the codec requirement of

Codec: XVID as per the attached picture.
Can anyone advise how or what tool can be used?
screenshot http://xomf.com/wkvgv

http://xomf.com/wkvgv

Thanks

You can use ffmpeg to perform this conversion. Grab the 32-bit static build from here.

And run the following command from the command prompt:

ffmpeg -i "c:\path\to\input.avi" -c:v libxvid -vtag xvid -qscale:v 3 -c:a libmp3lame -qscale:a 4 output.avi

You can experiment with the value of qscale:v to get the quality or file size that you need. Values from 1 to 31 are accepted, with 1 being best quality (and largest file size) and 31 being worst quality and smallest file size.


how to Order layers by name in after effects I have a lot of layers(100 layers) And I want to arrange them according to the name.

To sort layers by name, you either have to name them using a numerical prefix of some sort or use a script to do it.
Ordering by name using numbers: https://graphicdesign.stackexchange.com/questions/131728/in-after-effects-sort-project-layers-by-name-numerical-order
Here is a script: https://github.com/ff6347/after-effects-script-snippets/blob/master/automagically-sort-layers-by-name.jsx


Is it worth exporting at the exact 29.97 FPS from Photoshop or just use 30 FPS? My live action footage is Frame Rate 29.97 FPS. When exporting frame by frame animation from Photoshop that I intend to composite on top of the live footage. Since I have the ability in Photoshop to specify should I enter 30 FPS or the exact 29.97 FPS?

You can see Jumper and ISO BG.mov is 30 fps

I read this question:

What is the proper workflow for slightly different framerates, i.e. 30, 29.97, 29.976?

But it has conflicting answers and neither one has many upvotes or marked correct. Will there be any difference if I export it with the precise 29.97 and 30 or does it make no difference?

29.97 is the NTSC compromise for 30 fps.  23.976 is the NTSC compromise for 24 fps.  29.976 is a framerate that results from confusing these two numbers into a single bit of nonsense.

The bottom line is that if you have a mix of 29.97fps and 30fps, then every 1000 frames (about every 33 seconds) there's going to be a glitch.  Either you have to double up a frame of the 29.97fps stream to keep up with the 30fps stream, or you have to skip a frame of the 30fps stream so as not to overrun the 29.97fps stream.

If you never have to composite 1000 differently-timed frames in a row, then you can fudge the two as being equal.  But unless you can read the source code of your video editor, you don't really know at what point the program is going to try to "correct" the glitch.  It might be uppity and try to do it half-way through the 1000 sequence to minimize the average divergence, rather than waiting until the divergence is indisputable.  In that case, best to output your generated frames to match the frame rate of the rest of your content.


What encoding settings does Revision3 use to get quality high but file size so low? I am creating my own content. We have recorded uncompressed, and are now at the exporting stage.

This video will be downloaded, not streamed via YouTube or Vimeo. So far, we are rendering it at 5Mbps bitrate and it is coming in at very high.

It ranges from 23MB/minute to 38MB/minute for 720p high-def quality (mp4).

However, I know that many videos downloaded from the internet, for example -

Film Riot - has an HD file that is 84.5MB for 10:11 (so that works out to about 8.45MB/minute). The quality still looks nice...not necessarily THE BEST....but definitely pretty decent.

Film State - has an HD MP4 file that is 203.5MB that runs 25:50 (so that works out to about 7.8MB/minute).

HD Nation - has an HD MP4 file that is 236.2MB that runs 17:55 (so that works out to about 7.8MB/minute).

How do I get it so low, but quality still being so high?

Your best bet for high quality and low size is 2 pass variable bit rate, but it is worth noting that the size of the video also has a ton to do with how much motion it contains and how often the scene changes.  One of the most popular modern codecs to use for such compression is h.264.

Video compression works by looking for similarities not only within one frame, but also between nearby frames.  They more similarities there are, the less data it takes to represent it at a given quality.  Variable bit rate seeks to maximize quality by using the most data where it is needed and saves data where it is not.  Using two-pass allows the first pass to figure out what the best places to use the available data are before actually making the final compression.


Turning off Automatic Panel Opening in After Effects It's that wonderful time of the year again, where I scrupulously comb over my After Effects layouts culling any dead weight in terms of unnecessary plugins or panels that can be more efficiently organized or removed entirely. After creating, what I felt, was a beautiful layout for expressions, I hit a bit of a snag. Whenever I go to create a text layer, it automatically opens the "Character" and "Paragraph" Panels. While that is convenient, it completely distorts my layout.

Before there used to be a little checkbox in the top right of the screen - I believe on the tools - but now I can't find it. It's even referenced on this article Formatting paragraphs and the Paragraph panel saying "Note: To open the Character and Paragraph panels automatically when a type tool is active, select Auto-Open Panels in the Tools panel."

I don't know if this is outdated, or if I'm just not seeing it, but could someone direct me to a way of disabling this feature?

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

Uncheck the Auto-Open Panels Option to turn that behaviour off. Once you do this, the Paragraph and and Character Panels shouldn't be toggled automatically anymore.

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


Adobe Premiere Elements 11 Crash Issues (Adobe Premiere Elements has stopped working) After installing Adobe Premiere Elements 11 Trial I opened the Editor and pressed New Project. Than our beloved Windows error: Adobe Premiere Elements has stopped working contact there, do this, do that error... It just crashed...

Restarted the computer... No

There were some video related services running I stopped them... No

Any suggestions?

Solved! I'm just answering this question in case someone has the same issue...

Short Story:

Update your graphics card drivers. (All of them!)
If you have more than 1 card be sure the stronger one handles adobe premiere.

Long Story:

My laptop has 2 graphic cards

Intel HD Graphics
NVIDIA GeForce GT 330M

First I updated the driver of Intel HD graphics by uninstalling it from Device Manager (which is a bad idea as the screen disappears any way) then restarted my computer. Than Windows found the driver, installed it Restart number 2.

Now I tried Elements, great it worked! But... consuming 7.5 GB of RAM!!! (Virtual and Physical combined)

This time I don't know why, I just had to try it, I updated my NVIDIA driver (which had 2 updates) and from NVIDIA console I marked Adobe Premiere Elements.exe to use the NVIDIA graphics card.

Than I tried it and Elements worked perfectly...


FFMPEG - Scroll filter on filter_complex applies on under layer I apply filter_complex to put objects on coordinates using overlay. Sometime, I need to use the scroll filter.

Here is the code

ffmpeg -vsync 0 -i /tmp/2SN92agDIG.png -i /tmp/TogmpB9etD.png -i /tmp/lxiQXCxhaZ-1.png -filter_complex "color=size=312x312:c=0xffffff,loop=-1[color];\
[0:v]setpts=PTS-STARTPTS,setsar=1,scale=480x320,rotate=0:c=none:ow=rotw(0):oh=roth(0),format=argb,colorchannelmixer=aa=1[0];\
[1:v]setpts=PTS-STARTPTS,setsar=1,scale=298x301,rotate=0:c=none:ow=rotw(0):oh=roth(0),format=argb,colorchannelmixer=aa=0.8[1];\
[2:v]setpts=PTS-STARTPTS,setsar=1,scale=288x614,rotate=0:c=none:ow=rotw(0):oh=roth(0),format=argb,colorchannelmixer=aa=1[2];\
[color][0]overlay=x=-76.18:y=-4[-1+0];\
[-1+0][1]overlay=x=8.043499999999995:y=5.044000000000011[0+1];\
[0+1][2]overlay=x=8.021000000000015:y=0,scroll=vertical=0.02857142857142857" -map 0:a? -c:v h264_nvenc -c:a copy -t 35 -y

It works great but when this filter is applied on an object which is on top of other objects (Ex. third object in the filter complex chain), the scroll is applied to all under layer.

Do you have an idea how can I "isolate" the scroll to be applies only on one object ?

Thanks.

The image to be scrolled has to be looped first and then scrolled.

ffmpeg -vsync 0 -i /tmp/2SN92agDIG.png -i /tmp/TogmpB9etD.png -i /tmp/lxiQXCxhaZ-1.png -filter_complex "color=size=312x312:c=0xffffff[color];\
[0:v]setpts=PTS-STARTPTS,setsar=1,scale=480x320,rotate=0:c=none:ow=rotw(0):oh=roth(0),format=argb,colorchannelmixer=aa=1[0v];\
[1:v]setpts=PTS-STARTPTS,setsar=1,scale=298x301,rotate=0:c=none:ow=rotw(0):oh=roth(0),format=argb,colorchannelmixer=aa=0.8[1v];\
[2:v]setpts=PTS-STARTPTS,setsar=1,scale=288x614,rotate=0:c=none:ow=rotw(0):oh=roth(0),format=argb,colorchannelmixer=aa=1,loop=1:1,scroll=vertical=0.02857142857142857[2v];\
[color][0v]overlay=x=-76.18:y=-4[-1+0];\
[-1+0][1v]overlay=x=8.043499999999995:y=5.044000000000011[0+1];\
[0+1][2v]overlay=x=8.021000000000015:y=0" -c:v h264_nvenc -t 35 -y out.mp4

(there are quite a few unnecessary or inert elements in this command, but I haven't removed them, such as the rotate filters which don't perform any rotation)


Why are there two ways to keyframe-animate geometric transformations? In DaVinci Resolve 14, there seem to be two ways to use keyframe animations with geometric transformations.

One is on the Edit page, using the Inspector. Here it seems to be possible to smoothen out transitions with curves.

Another is on the Color page, with the Sizing tab.

What is the difference between these?  When should I use one or the other?  Is it possible to transfer the adjustments made with one into the other?

I am new to this software (and also video editing). I originally made adjustments on the Color page, but then wasn't able to smoothen the transitions, so I ended up scrapping them and re-doing the same thing on the Edit page.

The video transform tools in the edit page inspector window (zoom, position, etc) actually translate directly to the color page in the "Edit Sizing" window.  In your screenshot your color page is showing the input sizing window, which instructs resolve how to scale the image as part of the input process (very front end of the image processing pipeline).  If you place your mouse over the Input Sizing menu item, you'll see that there is also edit sizing (inspector on edit page), node sizing (associated specifically with the node you have selected in the color page), output sizing (how things get sent to video monitors), and reference sizing (lets you reposition/scale an image when using the wipe function to compare two clips in the color page).


JVC 3CCD camcoder light changes during capture! I'm trying to record a training session at work that requires me to capture the Projector screen as the lecturer is teaching. The light on my JVC 3CCD camera keeps on changing between Orange, blue and Yellow.

Please help!
The training class starts in 1 day.
BM

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

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


Creating a cube animating their faces As a beginner, I'm not sure how to create rectangles that form a cube so I can get something like shown below:

I created angled rectangles in another application and tried to create an idea to show, but I'd really like to use the elements that After Effects provides.

I would also like to know how to control the quality of the corners of the elements created within After Effects.

Anyone willing to help?

You can use the Bezier command that will help you a lot.


How to transition from Final Cut Pro 6 (or 7) to 10 I was a professional video editor in the early to mid 2000's. At the time, I used FCP versions 3 through 6 and was fluid with the program. I worked in the demo commercial business making pretty complicated animations out of layered Photoshop files, managing constant client changes, keeping files organized, knew the keyboard shortcuts, etc. I also had my own art projects. Around 2009, I switched careers (to math education).
Recently, I decided to incorporate some of my video editing skills into what I do now. I picked up FCP 10.5 and was surprised by how different it is. For example, I can't even open any of the my old .fcp files. I've heard of drastic software updates but have never heard of an application's own default file type becoming unrecognizable to itself! This seems more of a symptom than the problem, as the whole file linking method is different. The whole nomenclature for what they call shots, clips, timelines, is different. So much is different! I go online looking for help and find videos of people half my age, who know half the stuff I used to know (but on 6), talking to me like I'm an idiot.
Okay, enough whining.
I want to get up to speed on using FCP 10.5. Does anyone here know of a good tutorial, or set of documentation on this? I'd settle for something on learning about the transition from FCP 7 to X, as that seems to be where most of the changes happened, even though I never used 7. I would also be interested in an effective means of reviving my FCP 6 projects in 10.5, but that's not the main content of this question.
Thanks in advance.

A good starting point would be Apple itself.
Known for tutorials are larryjordan.com and rippletraining.com
A good book is from Ian Anderson


How to change cameras in After effects I am creating some 3D sences but i am taking one shot from left side but how i can then choose other camera to view from other sides. Like changing cameras that are on different sides.
http://www.videocopilot.net/flightschool/flight_control/

If you look at 0.34 you can see that he made same plane shot from different sides. ( He didnt explained it in video )

One way to do this is to export by clip - i.e., set your camera to angle 1 and export your first X frames (where 'X' is how many frames you want that shot to last for). Then, adjust your camera to angle 2 and export the next set of frames (however long you want that shot, etc.). These clips can then be combined in Premiere Pro (or After Effects) and you can easily add sound effects, etc. They are easy to timeline edit this way because they'll be already rendered and thus, you can work with the project in a much quicker way.


change Lightworks folder [Linux] I've installed Lightworks Free on Linux Debian.
When execute, it generates a Lightworks directory in /home/USER.
After move it to another directory where got all the programs, and execute it again, it keeps generating the previous folder on the same place.
How can change it to a preferred location?

According to the product comparison source, the free version does not allow to "User definable project locations". This is only possible for the Pro version.


Fixing a badly telecined 8mm film digitization I had some old 8mm (16fps) and Super-8 (18fps) film transfered to HD video (1080p30).  Since the video is 30fps, they telecined it, duplicating frames.  The telecine pattern (from looking at the video frame-by frame) appears to be:
AA
BB
CC
D
EEE
FF
G
HH
II
JJ
KK
L
MMM
NN
O
PP

Which seems breathtakingly awful from a playback point of view.  It should have been something like:
A
BB
CC
DD
EE
FF
GG
HH
I
JJ
KK
LL
MM
NN
OO
PP

So my question is:  Are there any tools out there that can fix this?

My secondary question is: Should this have been digitized at 16fps?  Seems like that would minimize file size, introduce no errors (like I'm dealing with now) and let the playback engine decide how best to convert the frame rate (when needed).

For question one, the short answer is not that I know of with that pattern. Most NLEs today include tools to reverse 3:2 and 2:3 pulldown, and you ~may~ want to experiment with the clips to see if those help improve it. You may also want to export as a targa sequence. Sometimes this export has tools specifically built to remove pulldown. Sometimes not.

As to recording in 16fps, that's not really an option since video systems don't RUN at 16fps. The whole purpose of pulldown in the first place is to take a 24p (or, in this case, 16p and 18p) source and stretch it into a 30i destination. Any way you slice it, it's just not a clean transfer.

16fps should typically be a 3:4:4:4 pulldown, and 18fps a 3:3:4. Obviously, your telecine house got confused. Maybe they'd be willing to re-do it if you bitched loud enough>

While it may not be possible to fix the problem because of the transfer rate, I will share what's worked for me in the past with a similar situation. I had some Super8 and I transferred it frame-by-frame as a series of jpgs. I loaded single frame jpgs into my NLE, rendered out the jpgs as a file, then added a velocity envelope to adjust the speed as if it were 30p. A little cumbersome, but it got me the results I needed.

That being said, I'm sure if I'd hunted some more, I'd been able to find a function that would have played back these stills at a certain frame rate in the project settings. Or, since this was a few years ago, just before true HD was starting to make its way into NLEs, that funtionality was missing, but is available in current versions.

If the pulldown is really screwing you, and you can't get something close enough from the software, I'd recommend a clean transfer For safety, I would do a video file at the correct pulldown rate, and a series of frame-by-frame bitmaps.

Good luck!


Crop Video temporary I am in need of Video Player, or Software or API or any other idea for that help me to save the storage issue.
Let me explain, I have a video file about 300mb which contains 10 clips if i make video in parts each part is of size arround 20mb so in total i will have 11 files and 500mb and it sucks because i have video files in thousands, So is their any video player or software by which i can crop/split video online so it don't affect my server space.

In best of knowledge the better way is I have to take a video and just take particular part from the video during run-time by telling its frame/time range and play it. So in this case i will not get headache of file-system again and storage issue also.

Can anyone suggest me something or any better idea please?

FFMpeg might do what you need. It's pretty powerful commandline tool to convert video formats, sizes, etc.

Here is a clear and simple tutorial for installing FFMpeg and using basic functions

Here is a specific SuperUser thread about using it to cut small clips from a larger clip.

  So is their any video player or software by which i can crop/split
  video online so it don't affect my server space.

There are a couple of "online editors" such as WeView, I haven't used them.

FFMpeg can read files from a stream or ftp, see the documentation: https://www.ffmpeg.org/ffmpeg-protocols.html#ftp

But if I understand you correctly, you want the software to cut the clips and convert them totally on server. I do not think that is possible with normal protcols. FFMpeg may be able to download and cut the file in one script. But I suggest posing that as a separate question if you decide to use it.


Change Text Animation Direction With FFMPEG "drawtext=fontfile="+fontPath+":text="+topText+":fontcolor=#FFFFFF:fontsize=40:box=0:boxcolor=black@0.2:boxborderw=5:x=min(4*(tw\\+10)-(abs(4-2*(t-1)))*(tw+10)-tw\\,w/3.5):y=main_h-(text_h*5)

With above script I am moving text from left to right and stay in middle and then move back to left.
How can I can animate it from right to left and then move back to right?

x=tw-min(4*(tw\+10)-(abs(4-2*(t-1)))*(tw+10)-tw\,w/3.5)

With this script I can animate text from right to left and stay in middle for a second and then go back to right side.


Flagging noteworthy moments during lengthy video recording? I work in a developmental psychology lab where it would be useful to have audio / video documentation of notable behavior and speech patterns.  Sessions with subjects last for several hours, and during this time, most of my attention is devoted to the proper administration of tests.  It would be nice to have something as simple as a button press that inserts some type of marker / flag / bookmark / chapter division into the video footage whenever I observe noteworthy behavior I'll want to review later on.  During review, I envision being able to use the marker system to jump straight to these moments of interest.

The chief issue I'm trying to avoid here is wasting a bunch of time searching through hours of tape just to collect a few minutes (or even seconds) of worthwhile footage.

I realize that a low-tech workaround would be to just synchronize a stopwatch to the start of the tape, and just glance at this / jot down times whenever anything interesting happens.  However, this would still be a somewhat cumbersome undertaking, as I also use a stopwatch during the administration of several tests.

Is anybody familiar with any specific camcorders that could handle this sort of thing?  Perhaps a model that lets you insert "chapter breaks" while recording?  Any input is appreciated - I feel I may be missing some other obvious ideas here.

P.S.  Ideally, my "button" would actually be a foot-pedal beneath the testing table, which would, in some way, communicate with the camcorder - but I'd be plenty satisfied if I could accomplish this via some button operation on the camcorder itself.

If the camcorder records stereo sound and you are only interested in mono recordings, the foot switch could trigger an oscillator that injected a short tone on the left channel and the inverted tone on the right channel.

During regular playback where you might be mixing left and right audio to one mono audio signal, the tone will be unheard because of electrical cancellation of the signals. However, if you had a small electronic circuit that looked for the presence of the tone on (say) the right channel then it would find it.

A better version would use a balanced differential amplifier to look at both left and right together - pure mono sounds (i.e. the sounds you collected in your recording) would be totally cancelled by the differential mixing in the amplifier whereas the "tone" you injected would be plainly and unambiguously heard reminding you to play back the regular recording at this point.


How can I use my JVC as a webcam on my HP pavilion laptop? So I have a JVC Everio GZ-MG360BU handycam and a HP Pavilion DV2000 Laptop.

The JVC has three ports - USB, A/V and DC (for charger).
My lap has a S-Video port (Is it an input or output port?)

How can I use the JVC as my webcam?? Do I need a firewire or S-Video cable?

Thanks in advance

Kaushik

On page 31 of the JVC Everio GZ-MG360BU manual it describes how you can hook it up to your TV using the A/V or S-Video outputs of your camera.

http://resources.jvc.com/Resources/00/01/13/57.PDF

Unfortunately the S-Video port on the HP Pavilion DV2000 is output only.

How do you hook up the A/V cable to your HP when this HP laptop does not have separate stereo line in audio or an RCA type video input as is the layout of the A/V cable?

You may want to look at an A/V to USB adapter:
http://compare.ebay.com/like/120691660283?var=lv&ltyp=AllFixedPriceItemTypes&var=sbar

I am assuming that you want to use the JVC camera over the built in webcam that comes with your HP laptop because the JVC should have better resolution and a zoom lens?

Caution: The image sent to the computer from your JVC will likely have the status information text/graphics over laid on it such as REC on/off unless the JVC has a way of clearing the display.


Video software to add video effects similar to Apple's Photo Booth Apple Mac OS X includes Photo Booth, an application for taking photos and videos with the built-in camera (if available, of course). Photo Booth can also add effects while taking a picture or video. In the recent version (Yosemite), Photo Booth is able to detect faces and adds the effect to every face detected in the image/video, see this example I found on YouTube:

Photo Booth applies effects in real time and cannot add effects to already recorded footage.

Is there any video editing software or video effects software available which can do this, i.e., add an effect similar to Photo Booths face detection based effects to existing video?

If you want to create the same effect after you shot the video, you could use Adobe After Effects.
Chose one of the filters under Effect>Distort. For example, let's choose Bulge.
Now you need to create keyframes so that the central point moves along with the face. You can either do this manually or use a tracker.
There are a lot of tutorials on tracking.


ffmpeg: How can I convert from H.265 into another 10bit format for colour grading? I am very new to dealing with video, so apologies if this is a completely inane question: I was wondering if you could advise me on how to transcode 10bit H.265 All-I 4k footage into some other 10bit format for the purposes of colour grading in Davinci Resolve? I am using the free edition of the software, which does not support H.265. H.265 is also exceedingly tough on my CPU, which I didn't think about when buying a 4k video camera!

I am on Windows. It looks like it would need to be some variant of DNxHR, but I get completely(!) lost trying to construct the terminal commands to make the conversion.

Here is a very short video in the format that I need to transcode from:

drive.google.com/file/d/1MLaXKDzwaZvbVBp2rlyf7SfxReVbcxID/view

I'd be really grateful if you could help me out with this!

I'm not familiar with DaVinci Resolve, but if the free version supports 10-bit H.264 you can use HandBrake to transcode to that format with CRF 0 and see if that works.

If that doesn't work you'll need to use FFmpeg. With a bit of fiddling I was able to convert your source file to DNxHR using this command:

ffmpeg -i DSCF1265.MOV -c:v dnxhd -profile:v dnxhr_hqx -color_range 2 -c:a copy DSCF1265.dnxhr_hqx.mov

This also copies the audio over, if you want to exclude it for some reason use -an instead of -c:a copy.

The -color_range 2 bit is important, without it the output looked different from the input (at least when watched with mpv).


How to route from mixer to PC when using outboard equipment Please let me explain how I've recorded in the past since I think this will make my question clearer.

Microphone -> direct into TL Audio pre-amp -> direct into soundcard.

This is the only way I know how to route.

Due to the location of my equipment (mixer - it's a home studio), the mixer could offer the ease of accessibility so I want to understand more.

Now, I know I could apply the following setup:

Microphone -> track 1 of mixer -> direct into TL Audio pre-amp -> direct into soundcard

But this doesn't seems like a good way, as it means that Track 2 of the mixer cannot use the TL Audio pre-amp.

I was also given a patch bay if that matters (or not).

How do I set up my mixer so I can use the outboard device? In total, I have 3 outboard devices and sadly only 2 send/return on my mixer. I do have 6 AUX though! The problem is AUX is just a send.

This is where my head hurts.

Let's assume my TL Audio pre-amp is connected via AUX 1.

This would mean my AUX1 of the mixer goes into my SoundCard Port 8 and my DirectOut on the mixer (of Track 1) goes into SoundCard Port 1. It then means Direct Out of Track 2 of my mixer goes to SoundCard Port 2 etc.

Is this correct?

Since your question is not very clear, I will answer generally and then improve my answer if more information is supplied. First of all, it is important to mention that there are 2 types of audio effects:

Parallel effects -  used with the original signal, without changing it. For example if you use delay or reverb; your signal gets routed to the effect and then returned back to your mixing console. At this stage - you decide what will be the correct mix between the original signal and the effect.
Serial effects - affecting the whole signal, for example compression. Auxiliary channels in consoles are usually used to work with parallel effects. You send the original channel through aux to your effects processor and then route the processed signal(actual effect)  back to your return input.

I say that to imply that usually you will not use your auxiliary sends and returns to use them with external pre-amp. The signal has to be pre-amped before going into the mixer channel, long before it reaches aux send point.

Regarding your question about direct outs and aux returns - yes, both of them will output the same signal as long as the aux volume is at maximum since both of them are post-fader.

If you want to use your external pre-amp with your mixer, you can use the line-in input which, in most mixers, is skipping the built-in pre.

EDIT1:
In some mixers the aux send\return are utilized by only one insert point, however internally tip is used as send and ring as return. This is from your mixer spec:


How to put a video inside text? https://okbinteractive.studio/

Above is a brilliant website, if you scroll down slightly, you'll see they have a video playing inside some coloured text (a large UX).

Is there any one of the Adobe apps, that could facilitate this?

For the life of me I cant work out how to do it.

There are a ton of options.

The easiest one that can be done in any decent video editor, is preparing a transparent shape.

You are used to thinking about the text being the object.

But if you combine it with the big rectangle you now have a rectangle with a hole with the shape of some text.

Put that in a layer above a video and you are done.

For the color, you could make the video with a different blending mode, like multiply, desaturate it and play it above a purple rectangle.

Another option is preparing a mask. This depends on if the program you are using can work with masks. But any decent one will.

You can do that in Premiere, After Effects, or with free software. Davinci Resolve is great and free.

A mask is simply a black and white image.

If your software is simpler and does not accept masks you can use a green text, and cut it using the green-screen option.


How does the h.264 encoder determine where to put i-frames? I'm reading a bit on I-frames and their counterparts, P-frames and B-frames. I understand the usage. I-frames are the key to the compression and following P and B-frames can use the data in I-frames to save on bits.

However, what I would find interesting is knowing how the encoder determines which frames should be I-frames and which should be P's and B's and pull their data from them. How does the encoder decide which frames will be I-frames?

Side thoughts (you don't have to answer, but these are interesting and useful to me in the future): Are I-frames easier, as in faster, to find and extract than say extracting every 30th frame? If a video is a slide show with audio and no slide animations, are I-frames likely to coincide with slide changes? Would compression be better on a video made from slides images rather than the same images taken in via stream in real time?

This is a complex topic, with the exact algorithm unique to each encoder.

Below is a pseudocode explanation from a x264 developer. B-frames aren't accounted for, but basic logic should be similar.

encode current frame as (a really fast approximation of) a P-frame and an I-frame.

if ((distance from previous keyframe) > keyint) then
    set IDR-frame
else if (1 - (bit size of P-frame) / (bit size of I-frame) < (scenecut / 100) * (distance from previous keyframe) / keyint) then
    if ((distance from previous keyframe) >= minkeyint) then
        set IDR-frame
    else
        set I-frame
else
    set P-frame

encode frame for real.

scenecut is the scene change threshold value. 0 means current frame is identical to previous frame, and 100 means it is completely different.

keyint is the maximum permitted distance between two keyframes; minkeyint is the minimum.

IDR (instantaneous decoder refresh) frames are keyframes such that no future frame requires to refer to a frame earlier than the IDR-frame for decoding. Not necessarily true for plain I-frames.


What format and codecs to use for PS3? i have edited a video with Open Shot. However when exporting and trying to watch via PS3 the results end up unsatisfying.

I managed to figure out that the video is displayed fine as MP4 with libx264 Codec but i cannot get audio right. Neither aac nor ac3 codec produce satisfying results. Although sound is played it sounds really annoying, to me like the bass is completely broken. I use the highest quality, 2 Channels and a sampling rate of 48000.

Can anybody help me to get a satisfying result?

BTW VLC Player has no problems with neither of the setups i used for PS3.

The PS3 is very picky on what it plays and what not. I had the same problem as you (again with an OpenShot video)

Solutions

1)Use http://www.ps3mediaserver.org/ that automatically transcodes to formats for PS3

2)Convert your existing video to PS3 format with https://handbrake.fr/


Does transcoding or compression occur when importing and editing .mts (.mp4) video files? If a .mts video file is opened or imported to a project in a video editor like Adobe Premiere Pro, is transcoding going on? Video or audio compression? If so, why, instead of editing the raw file as is?

You have control over this. If you use the correct settings, you will work on the original file.
When you setup a project you can define what Ingest Settings to use during import. Those settings can also be changed later. In your case you probably want to use Copy.

If you drag and drop a video from the Media Browser panel to the Project panel the video will be imported. By clicking the Ingest checkbox before dragging the video you can control if ingest settings are used or not. If the box is unticked, the video will remain in its folder location. If ticked, the ingest settings you have selected will be used, e.g. the file will be copied into the targeted folder location (as defined in the project settings under Scratch Disks). The wrench icon right of the ingest checkbox opens the ingest settings again.

Now to the second part: why not work on the raw file? Sometimes the codec of the source material is not suitabel for editing. If you transcode to suitable formats that use intraframe codecs you usually don't have to worry about the quality, but the video editing works overall better (here's a bit more on this).
Another reason why you do not want to directly work on the original file is if you're computer is too slow. For example if you edit 8k or 4k raw video most computers will become visibly slower at some point when they have to apply various effects. In this case lower resolution proxy videos are a great help. (here's a bit more on that topic). And don't worry, in the end, when you export your video the original videos are still there and all the editing is applied on these and so you export the good quality videos, not the proxies. You can switch back and forth between proxy and original video in Premiere whenever needed.


Kdenlive - cut on point In Kdenlive, is it possible to cut track on current frame? In Blender I would use "k".

I am able to use the cut tool and click on the current frame position, but it usually involves some offset.

I would like a precise solution.

Figured it out.

The shortcut is "Shift+R".

It's located in top options > timeline > current clip > cut clip.


How can I make the best quality SD DVD's I create a lot of DVD image slideshows for people using basic programs like Windows live movie maker. The images used to create the video are very high resolution to begin with but when the DVD is played back on my TV screen they are very poor quality and feature ghosting to some good extent and pixelation.

I have looked into this before and was told that because a DVD is just in SD it will never look any better but then I have to wonder why all movie DVD's are so much higher quality than they ones I have made.

I have used two programs to create the DVD's and the results are both similar:

Windows live movie maker- also has a function to export to a DVD, adding the menu etc. (currently using this).

Cyberlink Powerdirector 12

I need to try and find a resolution to this because the DVD's are embarrassing at the moment and I only have a 26" TV. I can't begin to Imagen how they would look on anything bigger.

What is the best way to make high quality DVD slideshows?

There isn't one.  What you have been told in the past is correct, DVD resolution is very, very limited.  720 by 480 is barely even 1/3 of a megapixel of resolution, which is exceptionally low and will look poor on pretty much any HD display.  There is no solution for going higher quality than this on a DVD that is playable on normal DVD players.

The reason that it is not all that noticeable when you watch a video on DVD is that the information presented over time is not all the same and thus your brain is able to piece together a picture of what things would look like based on successive frames of video.  This makes it seem smoother and clearer than it actually is, but it relies on the content moving.  Static images present no new information in successive frames.

It is possible that you are using a poor quality encoding or too low of a bitrate, but if you are getting very similar results from both programs, it sounds like it is probably just the limitation of SD formats.  (A poor quality encoder or too low of bitrate would result in artifacts being introduced to the image, but photos should require very little bitrate since they are static.)  If you can post a screenshot captured from playing back the DVD on your computer, that might help us better evaluate, but my best guess is that you are just noticing how poor quality DVD actually is.


Fixing desync in a large, long video file I've got some moderately large, compressed video files (~2+ gigs, over an hour long) from a few Open Broadcaster Software streams to Twitch.tv. All output files (including the twitch archive's export) have the dreaded gradual audio desync.

I have assorted tools to play with audio, but all of them seem to be failing me. Camtassia Studio barely loads the files (sometimes it just plain doesn't), and since the desync is gradual, Camtasia can't really help since I can only shift ALL audio.

I used to be able to fix a similar desync problem in Virtual Dub, which would change the "framerate" or some equivalent timing of the video or audio to make them match up in timing, I did this with small 10 minute AVI files and it worked like a charm. But Virtual Dub doesn't support mp4s with h264, and even after adding a plugin to give VDub support for them it crashes when I load the files in Virtual Dub.

Is there any moderately easy way to correct this audio sync? I have about 6 video files to work with, all over an hour long, so manually adjusting timing with millisecond precision just isn't practical. I have Camtasia Studio and access to any free software for x64/32 bit windows and I'm willing to buy software to fix this as well, I just have no idea what I'm looking for to make this really work.

How can I fix gradually desynced audio in large video files?

I have no idea if this is optimal for you, but one approach using free software would be to first determine the percentage (and direction) of drift by finding a point near the end where you can tell with some precision what the sync error is, in frames.

Demux the video and audio into separate streams, using a free tool like AVI-Mux. Load the audio into Audacity, and apply the time shift determined above, either as a "new length" or a ratio (frame error / total frames).

Export the audio and remux using the new track.


Do I have any sort of loss converting an M4V file to MKV? I have a bunch of files I've "shrunk" with Handbrake using a custom preset I've built after reading what each of the advanced options of the x264 encoder, at least those listed under "Advanced" tab, does.

When I encoded these files, originally MP4 I don't have anymore, for some reason I don't remember I chose the M4V over MKV.

Then today I was uploading one of the files and got an error that M4V wasn't supported. Thinking I could do a "lossless" conversion with FFMPEG I ran:

ffmpeg -i "path/to/file.m4v" -c:v copy -c:a copy "path/to/file.mkv"

And all files were converted without problems, at least none FFMPEG could relate with:

ffmpeg.exe -v error -i "path/to/file.mkv"

But then again I'm no video expert, not even close to that.

Do I have any sort of loss doing that? I would like to know so I could delete the M4V that as I read it more proprietary in favour of the open-source and more acceptable MKV

Your command

ffmpeg -i "path/to/file.m4v" -c:v copy -c:a copy "path/to/file.mkv"

does do a lossless copy since no recompression occurs.

You have to note all warning or error messages during the conversion. The command below will only throw an error if the file properties can't be detected, like stream info.

ffmpeg.exe -v error -i "path/to/file.mkv"

Run

ffmpeg.exe -i "path/to/file.mkv" -map 0 -f null -

to see if the entire file decodes fine.


Fade text background on one end in Sony Vegas Pro 13 In Sony Vegas Pro 13, I've masked the part where I want the text's black background to appear. It looks like this:

Now, I want to fade one part of the background like in below picture, where right side of the text background is faded.

How do I do it?

What you are looking for is luma keying.

With luma keying, you provide a greyscale image to represent degrees of transparency (properly called an alpha channel) in addition to your background and foreground images. I have not used it in Vegas Pro, but here is a link to a tutorial:


Concatenate multiple files using FFmpeg I started to learn FFmpeg syntax a couple of days ago.
I'm trying to read the official docs, it's not easy.

So I want to build up a video files which consists of different videos, and audios.
Let's say I have files below.

Video files:

a.mp4
b.mkv

Audio files:

x.wma
y.mp3
z.mp3

I'd like to use specific parts of audio files.
Let's say,

2s ~ 24 sec from x.wma
1m 22s ~ 1m 41s from y.mp3
29s ~ 2m 33s from z.mp3

Concatenate the selected audio streams into an audio stream.

I'll take the video stream of 2m ~ 2m 32s from a.mp4.

Then video stream is a lot shorter than audio.
(I don't know how much exactly, hopefully FFmpeg can do that for me)

Can FFmpeg do any of the below?

Take the video streams from b.mkv and concatenate it with the video streams from a.mp4, so that resulted video stream is as long as the audio. After that mux the audio and video.
Change the duration of the video stream from a.mp4 so that duration of the video and audio are equal.(by changing playback speed of video stream) then mux the audio and video.
Just insert an image file after video streams ends while audio is being played.

P.S.: I tried to express things clearly, but I'm not so good at English. If there is anything you can't understand clearly, please tell me.

Use the concat filter:

ffmpeg -y -i a.mp4 -ss 2 -t 22 -i x.wma -ss 00:01:22 -t 19 -i y.mp3 -ss 29 -t 124 -i z.mp3 -filter_complex "[1:a][2:a][3:a]concat=n=3:v=0:a=1[a]" -map 0:v -map "[a]" -shortest output.mp4

Alternatively, instead of -ss/-t you can use the atrim and asetpts filters.


Convert MXF files into CBR TS I am trying to convert couple of rather large MXF files into TS files preserving the video and audio encoding. The output TS has to be CBR Mpeg-2 TS file, which I know is not possible with ffmpeg. Any idea for another preferably Linux command line tool which could handle this task? Windows is also an option, but I want to convert couple of files on a server, so that is why it would be better if it is Linux based.

Okay thanks to @Mulvya I have found a solution how I can create CBR MPEG-2 TS with stuffing and constant constant bitrate and inside of it VBR VPID. The command for H.264 is:

$ ffmpeg -i <input> \
-c:v libx264 -x264opts nal-hrd=cbr \
-b:v 30M -minrate:v 30M -maxrate:v 30M -muxrate 35M -bufsize:v 25M \
-c:a aac -ac 2 -b:a 128k \
-f mpegts <output.ts>

This will create 35Mbps CBR TS and inside the TS the bitrate of the VPID will fluctuate a bit around 30Mbps, and also the bitrate of PID 8191 (null PIDs).
The command for doing the same but with HEVC is the following:

ffmpeg -i <input> \
-c:v libx265 -b:v 25M -muxrate 30M \
-x265-params strict-cbr=1:vbv-bufsize=25000:vbv-maxrate=25000 \
-c:a aac -ac 2 -b:a 128k \
-f mpegts <output.ts>

Here the TS will be with 30Mbps bitrate and the VPID will be around 25Mbps, this command will create also stuffing (null PIDs) around 5Mbps. Please also note that the bitrate after -x265-params should be in Kbps.


What kind of video encoder can do this? Blend multiple video frames together live How can I recreate the effect in the video above?  Having multiple camera frames blended together in a live stream  Preferably better.  I need some kind of video encoder that can stream to my FMS.

Any suggestions would be greatly appreciated.

While there are video encoders that do this kind of thing, most commonly this is the work of a video switcher or mixer.  A video switcher is a device used for mixing live video from multiple sources.  The bad news is they generally aren't cheap.  An HD capable switcher is typically in the $6000+ range with the absolute cheapest one I know of  being the Black Magic Design Studio ATEM which is $1000 and requires use of a software interface to control it.

The switcher then would output the final composite video that would go in to an encoder to be sent out, or in some newer cases, may even provide encoding functionality itself (such as the previously mentioned ATEM Studio).

Alternately, you probably can find software that will attempt to do the scaling and encoding operation on the fly, but it is going to require quite a beefy computer to pull it off and you'd likely end up spending more than the $1000 for the ATEM Studio to build a powerful enough system to handle it with any high level of quality.


Edit gopro 4k videos in virtualdub I am trying to edit video filmed by Hero4 Black in VirtualDub. So far I opened video in GoPro Studio and converted it to mpeg file. However when trying to open it in VirtualDub with Mpeg4 plugin I am getting error about audiocodec 00ff. I installed ac3acm codec and x264vfw but still have the same error. Anything else I'm missing?

VirtualDub was made to operate exclusively on AVI files; however, a plugin API was added from version 1.7.2 which allows the import of other formats. Appropriate video and audio codecs need to be installed.


What is a description along the bottom of a video generally called? Sorry about the terrible title question. I'll edit it if I get an answer to be more useful to others, or you're welcome to do so.
I'm trying to find tutorials and even inspiration for stuff like the DKS bar in this picture:

I looked up "trade show videos" "after effects titles" "after effects text" and haven't really found much that's helping. Is there a name used in the video world for that part of a video which might help me find more examples?
Here's the video set to this moment so you can see it all animated:

It is often called a lower third because it is a bar often appearing in the lower third of the image.  Also sometimes a name plate or title plate.


Video Output to TV is shutting down on full speed playback of video, or split screen display I've got a client at a golf course with software that captures videos from two cameras.  One video is from down the line and the other is from straight on.  They have two physical displays, 1 computer monitor connected via VGA and a big screen TV connected via HDMI (DVI to HDMI converter).

Recently, the video card went out on this computer, so I replaced it.  Everything is working except for two instances.

If the user selects a 'split screen' display (showing the input from each camera side-by-side), the TV display goes black.  When you go back to another display that works, the TV briefly displays the split screen as it should have, but then switches to the new type of display selected.
If the user selects a previously recorded video and plays it back full speed, again the TV display goes black.  However, if you pause the video it will display fine on the TV. You can also play it in slow motion and it will display. Only full speed playback causes the issue.

I'm trying to troubleshoot this to the best of my ability before doing anything else.  I've considered buying a better video card to see if this is the problem, but I don't want to do that until I've eliminated any other possible issues.

Thanks in advance,
Jeff

Assuming that everything worked fine before you replaced the video card, did the software vendor recommend a video card for this set up? if not, does the software vendor provide a list of supported video cards? Does your new card fall in this list?

I highly suspect that the replacement card has a compatibility issue with the "capture" software. Have you contacted technical support for the software vendor?

It is possible there is also a driver conflict or that when you replaced the video card you did not provide the correct driver. Assuming this is a PC running Windows, did you check the 'device manager' to see if there are any yellow or red flags?

How to check the device manager, one way. Start-->right click on 'my computer', then choose 'manage' from the drop down menu, a 2 pane window will appear, click on device manager in the left pane, look for details in the right pane.


Are they all legal cc videos? I chose a video from "A"'s channel which was a cc video. Later on, I found that the video was not actually a cc video. "A" downloaded the video from "B" 's channel & introduced the video as a cc video. Now on good faith considering it a cc video, I uploaded it from "A" 's channel. Now...if "A" 's video channel is terminated for violation of youtube policy for this illegal practice will it be harmful to me??..

I'm not a copyrights lawyer, but I think you can consider your use of the video just as much a violation as 'A's version.
When someone claims the rights to YouTube, you will also receive a notice and the video will be deleted.


How do I take optically faithful videos of glow props in the dark? I own a small business making LED glow props and though the technology is sound, taking good footage of them in use is proving to be far more difficult than I expected.

I've tried with all sorts of different cameras but they all seem to result in the same thing which is gaps (seems to happen if I shoot in non-interlaced mode) or overlaps (I get this when I shoot in interlaced mode) between frames e.g.

Is there anything that can be done to combine the frames without the overlap?

Deciding whether or not to shoot interlaced is really a matter of matching your destination format.  If you're shooting video for the web, you should record it in progressive scan mode.  You can record interlaced, and then de-interlace it in software, but this will likely lead to video artifacts, especially considering your subject matter.

I think the picture you posted has misled many commenters into giving you the wrong advice.  Because the picture is blurry, they recommend a faster shutter speed, which will sharpen a moving object.  But, given the nature of the video you linked to, I think more motion blur will result in a smoother, more natural look.  So try recording progressive, with a slow shutter speed.  This will let more light into the lens, brightening the exposure and making longer motion trails.

Also, try to match the framerate with which you're recording to that of your destination.  If you are recording at 29.97 and vimeo or youtube is playing at 24fps, they're going to introduce some frame blending on their end, which you have no control over, and which is likely to introduce artifacts.


Is Adobe Premiere Elements good enough for video editing? I'm looking for an affordable tool to edit video on Windows with the following features:

sharpness adjustment
color correction
noise reduction
stabilization
matching color and brightness between different clips

I saw lots of people recommending Adobe Premiere Elements as a general video editing tool. Is it good enough for my purpose? If not, do you have any recommendation?

Is Adobe Premiere Elements good enough for video editing?

In general, yes. It is a watered down Version of Premiere Pro for people that would be overwhelmed  by a full-featured professional editing tool and just want to cut their video easily and quickly.

This means that a lot of the features of Premiere Pro will only be available in a simplified variation, for example in the form of presets or complex effects being boiled down to a couple of easy to understand sliders and checkboxes that do most of the work 'under the hood'. You basically exchange precision control for ease of use and simplicity.

Checking the software's feature range

Look through the software manufacturer's website and documentation/manual to find out if it has all the features you want.

For example:

  color correction

From the Adobe Elements Features page:

  Pop a color for instant wow

  Get the effects you’re after with Guided Edits. Create visual drama by popping one or more colors in a scene and pushing everything else to black-and-white.

  Show your true colors

  Sliders let you adjust clip color as easily as adjusting the color in a photo.

The problem with this method is that Premiere Elements is a consumer-oriented product and not intended for professional video editing. So the marketing material is pretty inprecise as well. I have no idea what 'pop a color for instant wow' is supposed to mean. Ignore the marketing babble, use Google image search to find relevant screenshots or search for video tutorials to see the respective functions in action.

Looking for specific features

Google Search for [software name] + [feature designation].

For example, for video stabilization:

Google Search for 'Premiere Elements video stabilization'. The first result is this page which has a video that demonstrates the video stabilization feature in Premiere Elements. If you find no official links and instead get a couple of forum threads where people ask for that specific feature and get no useful answers, you can assume it isn't present in the software.

Also make sure that the results are up-to-date and apply to the current version of Premiere Elements. If you only get outdated search results, append the current version number/designation of the software to your search term or use advanced search to only find results that have been updated recently.