text:
FCPX 10.1.3 - How Do I Copy Project?
Super-basic question, I know, and yes I'm a total noob.
I have a simple project in my timeline that I'd like to save (so I can go back to it in the future and make edits) but then move forward with what I've got so far as the basis for a new project, and swap out a few clips.
I've read everything I can find online in the vein of "how to copy/duplicate projects/events", but have struck out (which makes me think maybe I don't understand the nomenclature at work here).
Anyway,two other possibly salient facts:

There are no projects in my browser, only clips
Menu items "Edit/Duplicate/Duplicate Project as Snapshot" are grayed out

Any thoughts? Tia!

To freeze your current state of work you need to load a Library and right click on a Project. Important is you need to choose Duplicate as Snapshot. Only then you make a protected copy of your current work.
Here is why: When you have compounded clips in your project, these clips living outside of your project, available to all Projects in the Library. When you Duplicate your Project only, any change you make inside a Compound Clip is rippling to any Project what is a duplicate to this Project you working on and has this completed Clip in your timeline.
Here is a link to a video that shows the effect. Watch maybe a couple of times as the guy is kind of fuzzy on his explanation.
Duplicate vs Duplicate as Snapshot

I don't know why the option for duplicating a project is grayed out in your case.
You already wrote the solution. You select a project within an event, an than you can right click on it and select to duplicate it or to duplicate it as a snapshot.
Here is a screenshot (german)

Just select the project you want to duplicate and than right click on it or use the menu.


text:
iMovie to Instagram
I have an issue with this process to edit a video (6sec, 10MB => in the instagram range) and share it on Instagram :

edit in iMovie
file / share /file
Resolution 720P, Quality High
upload on Google Drive
go to the android app, select new port / other / google drive. I see the video but I'm not able to select it. It's greyd out.

I tried also to convert it with handbrake but same result...

source: Stack Exchange

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

sort: votes


text:
ffmpeg convert H264 CFR + timestamps to VFR
I have a H264 video source that was recorded with variable framerate (VFR) and a text file with frame ID, timestamp pairs that looks like this:
frameId,timestamp
1890413473,13792093
1890413474,13792106
1890413475,13792123
1890413476,13792139
...

If I try to playback as is, it defaults to the 25 constant framerate (CFR)
ffmpeg -i stream.h264 -c copy stream.mkv
How do I combine the timestamp data to make a .mkv playing at the appropriate rate? The docs have -vsync vfr which looks related, but not sure about the input format for the times to sync with.

See https://stackoverflow.com/a/37893746

I wrapped the h264 in an mp4 container and changed the text file to the timecode v2 format. Then the mp4fpsmod was able to make the correct VFR video.
I was able to do a similar thing with mkvmerge to work with mkv containers.

However, is there a way for ffmpeg to do this or be more attuned to it? For instance if I try to convert the corrected vfr video to another format ffmpeg -i stream_vfr.mp4 -c copy stream.mkv I get mismatch values between pkt_duration, pkt_dts from the original from ffprobe -show_frames

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


text:
Attach anchor point to other object
I have a text and an arrow, and I want them to follow a simple path. I have animated the arrow with a few keyframes and I'm happy with it.
Now I would like my text to follow the exact same motion, so my idea would be to just somehow "attach" its anchor point to the arrow object, and turn on the animation button, and "voila".
Is that possible in any way? How do I achieve this without copy pasting the animation from the previous object ? What is the efficient and smart way to do so?

select both layers
press "p"
in the text layer, drag the whip (the little curly thing)
drop it on the position, or the anchor of the arrow, depending on which one has keyframes.
voila.

You can also adjust the anchor of the text to shift it and still make it follow the arrow.

I'm not currently able to test, but what is P the shortcut of?

It's "p" for position

Okay I just had a chance to try out ; I'm not sure I follow you though.
So to make things clear, with my hotkeys pressing P selects the Pen tool. Also, I didnt find any "whip" or anything curly in the text layer (not sure where exactly), apart from the "Reset" icon on the right hand side of each effect. Could you clarify a little more please ?

I believe Florian is referring to After Effects - not Premiere. AFAIK, there are no whips in Premiere. Florian is correct in implying that this process is better suited to do in After Effects and not directly in premiere - as there's far more options available for motion controls in AE.
The new Essential Graphics options would be ideal to work (theoretically) seamlessly from AE to Premiere.
If you're not comfortable working in AE, doing it by hand in Premiere might be your only option.

I'm incredibly sorry, I was assuming you meant after effects since that's usually used for this kind of motion graphic design. Indeed, keyframing it by hand would be your only option in premiere.

I don't think there's a way to do this in Premiere that I can think of.
I tried nesting a track, then masking it and tracking the mask, but it doesn't help: you can track mattes in Premiere, but there's no way to copy the keyframed data from one track to another, or convert it into position keyframes.
If anyone can think of a work-around, I'd be interested to see it.


text:
High noise video during night at F/1.8
I am using Nikon D5600 camera body with Nikon f1.2 50mm prime lens.
Shooting condition: Dark with few lamps along the street.
Settings:

Mode: Manual
Aperture: f1.8
ISO: 200
Shutter Speed: 1/50s
Video FPS: 24

The camera was mounted on a tripod and there was no light source directly above the camera.
PROBLEM: The video contains so much noise. Since I have already set the ISO at 200 then what is making the video so granular?


text:
Colour grading advice
As a hobby project, I am looking into how difficult it would be to regrade the Buffy HD releases to match the colour grading of the original. I haven't done much colour correction in the past at all, so I have very little experience to draw on. I'm running into a curious situation, where different parts of the same frame seem to be graded differently. Here's a shot of Buffy wearing a white shirt, and in each of these samples, the HD source with my filters is on the left and the right is the unaltered UK DVD release:

I am fiddling with White Balance, Curves and Lift/Balance/Gain in kdenlive, and I'm finding I can make the face match, or the shirt match, but not both at the same time. The shirt wants to be more blue while the face wants to be more green/red. Is there some sort of nonlinear filter I can use to get this effect, or, I dunno, was the original done by actually applying different functions to different parts of each frame?

Applying different adjustments to different parts of the frame is fundamental to color grading.  I don't know anything about kdenlive, but if it doesn't do that, use something else.  Also, video scopes are 100% necessary, non-negotiable.

First off, I recommend you use davinci resolve for grading (it's also free).
There are two options that you have, you could either draw a mask on the part you want to affect, track that mask to follow the motion and apply the grade only inside of that mask.
Second would be to pick the colour of the area you want to change and only alter this spectrum, which can lead to artifacts, especially when not working with original files tho.

if you 'wanted' to use black magic software, fusion 8 is the much better choice for what the OP is trying to do. And masking specific segments isn't at all viable given the sheer amount of footage.

Resolve is better at getting through lots of shots quickly.  Fusion is good for precision keying, which isn't always necessary.  And with Fusion inside Resolve, you can feed the keys to Resolve.  The Viewer LUTs in Fusion are also pretty broken, especially for ACES, unless you use OCIO, which basically bypasses all BMD color management.  And I say this as a huge BMD fan.


text:
Sony Vegas or FFmpeg?
My Sony Vegas Licence will expire soon. Thanks to this site i found this free software FFmpeg. I also see that is largely used and has a lot of support here. Tbh i never heard of it. What would you recommend? Buy a new licence or use this free software? pros, cons?

Which non-perpetual license of Vegas do you have?

i have sony vegas pro 365, 3 months plan, still have 2 months left

You're comparing two different tools that have different uses: it's like asking if you should stop using a saw for a hammer. Vegas is an editor. The ffmpeg command-line tool is basically a versatile encoder (although it can be used as a simple editor with some caveats). So the answer is that you should use both.

What are you going to be using them for? Ffmpeg on its own, as a command-line tool, really shines as a helper tool to augment existing video editor software. You don't really want to be doing video editing 'without' a gui in many cases, in some cases a command line is all you need though. That said there are many video editors that do what vegas does that use ffmpeg....and they are all generally free. You should probably look at software that uses ffmpeg as being the thing that replaces vegas. So.... Go vegas + ffmpeg.exe; or find software that uses ffmpeg + ffmpeg.exe.


text:
Can I apply a feather to clipping in aegisub?
{\clip(187.2,187.2,1084.8,700.8)}Like falling in love or getting your heart broken.

Is there a way to apply a more gradual fade (a feathering effect) when clipping your subtitles with the clip commands? I haven't been able to find anything. I know there's iclip, which lets you invert the clipping area...there are drawing tools to make a more distinct clip area like bezier or whatever included in the gui...but that's like it I can find.
I'm going to be really surprised if this doesn't exist somewhere for this program. Anyone see any examples of usage that include this effect? The only way I can think of is an image overlay that includes faded edges that would function as a fade for the underlying text.


text:
Convert 3d video to double 2d video using ffmpeg
I want to convert 3d video to 2d video. I saw another topic How to convert a 3D movie to 2D using ffmpeg but as far I know 3d video is build from 2 videos so I should be double output video. One for left eye and another for right one. One should be build from even frames and another from odd frames. Can it be done using ffmpeg ?

This hardly depends on which 3D method you use. As not all work the same.

I have 3d camera. If I record 3d video and for example I will open this video by Vegas Pro 16 it gives me two video tracks, question is that I can get this two video tracks using ffmpeg

Welcome! Can you share a sample source file or the text mode output of MediaInfo for one of the source files? What ffmpeg commands have you tried so far? What results have you gotten? How have those results differed from your expectations?

ffmpeg  -i "foo.mkv" -vf stereo3d=sbs2l:ml -c:a copy "bar.mp4"


text:
Archival storage for RAW video
I am filming with my BMPCC4k and figured out to be my workflow as follows:
Import Clips to harddrive.
Create Proxy's using Adobe Media Encoder.
Edit in Premiere Pro.
Then Color Grade in Davinci.
Then replace Proxys with Color Graded video.
Export.
I am now thinking about how to archive those videos. The budget of my projects don't allow storage space of multiple TB each.
So I was thinking about storing rendered videos, so that we can at least make slight changes afterwards in editing or export diffrent formats.
What would be the best codec to use to export the video? With a good compromise of quality vs space. I would say no more than 50mb/s.
I am using Windows.

If you edit in Resolve, you can use Resolve's Media Management for the whole project, transcode all, or only used media; with, or without handles.  Roundtripping from PP is fraught with peril.  It's often necessary when you're working with other people who use Adobe products, but the only good reason to do it when you're the editor and colorist is to prepare yourself for the pitfalls of roundtripping for paying clients.  Otherwise, it's an exercise in masochism.  Try it with multichannel audio for a real treat ;-)

If your system has external SAS, you can either buy an older LTO Tape Drive System, such as an LTO-5, or rent one. Or go for an LTO-6 or 7 drive.
Linear tape really is the best choice for a number of production environments which is why so many post houses have adopted it for footage back up.
The tapes have large capacity, are enterprise secure, have built in fault tolerance, are fairly easy to use, and it's the CHEAPEST way to archive.
An LTO-6 Tape will hold 2.5TB uncompressed content (raw video), will write at speeds of roughly 140mb/s and the tape will cost you about $20.
A 2TB HDD Bare Spinning Drive is far most costly than that and will not run/be locked/greased up if you try to use it 50 years from now.
They are archival for 30-50 years.
It's what the National Archives uses.

Thank you for the answer. But that's not quite what I am looking for. I want to store on normal HDDs. Regardless of the storage type, my main question is WHAT CODEC I should use to archive the footage. As I allready colour graded the video, I won't need the full flexibility of raw

"Archive" implies long-term viability.  Storing the camera original to LTO is the best practice for that goal.  Future technologies only improve the interpretation of RAW footage (BMD's gen5 color science, e.g.).  If you compress it, you're shooting yourself in the foot.  If you store it to HDDs, their failure is imminent.  Besides, BRAW is a compressed RAW codec in the first place, and doesn't take much more space than ProRes, but adds considerable flexibility and performance.


text:
How to decrypt DASH mp4protection with ffmpeg
I can watch the live stream video from android device but can't watch on Windows.
Is it possible to download and decrypt it with FFMPEG ?
the sample playlist
<?xml version="1.0" encoding="UTF-8"?>
<MPD xmlns:xsi="http://www.w3.org/2001/XMLSchema-instance"
     xmlns="urn:mpeg:dash:schema:mpd:2011"
     xmlns:xlink="http://www.w3.org/1999/xlink"
     xmlns:cenc="urn:mpeg:cenc:2013"
     xsi:schemaLocation="urn:mpeg:DASH:schema:MPD:2011 http://standards.iso.org/ittf/PubliclyAvailableStandards/MPEG-DASH_schema_files/DASH-MPD.xsd"
     profiles="urn:mpeg:dash:profile:isoff-live:2011"
     type="dynamic"
     minimumUpdatePeriod="PT4.974S"
     publishTime="2019-04-05T08:58:38Z"
     availabilityStartTime="2019-03-29T01:42:08Z"
     timeShiftBufferDepth="PT40.0S"
     suggestedPresentationDelay="PT8.0S"
     minBufferTime="PT6.0S">
    <ProgramInformation>
        <Title>abcdefg.smil</Title>
    </ProgramInformation>
    <Location>https://xxx.yyy.zzz/liveedge_ezdrm/abcdefg.smil/manifest_w43695283_qYXBwaWQ9dHJ1ZWlkdjImdHlwZT1saXZlJnZpc2l0b3I9bW9iaWxlJnVpZD00MzM1MTE1MA==.mpd</Location>
    <Period id="0" start="PT0.0S">
        <AdaptationSet id="0" group="1" mimeType="video/mp4" maxWidth="1280" maxHeight="720" par="16:9" frameRate="25" segmentAlignment="true" startWithSAP="1" subsegmentAlignment="true" subsegmentStartsWithSAP="1">
            <ContentProtection schemeIdUri="urn:mpeg:dash:mp4protection:2011" value="cenc" cenc:default_KID="67e5babd-0e78-5cd0-bccd-bae46f10b3c6"/>
            <ContentProtection schemeIdUri="urn:uuid:edef8ba9-79d6-4ace-a3c8-27dcd51d21ed" value="Widevine">
                <cenc:pssh>AAAAM3Bzc2gAAAAA7e+LqXnWSs6jyCfc1R0h7QAAABMiC3NpbGVudF9tYXJ5SOPclZsG</cenc:pssh>
            </ContentProtection>
            <SegmentTemplate timescale="90000" media="chunk_ctvideo_cfm4s_rid$RepresentationID$_cs$Time$_w43695283_qYXBwaWQ9dHJ1ZWlkdjImdHlwZT1saXZlJnZpc2l0b3I9bW9iaWxlJnVpZD00MzM1MTE1MA==_mpd.m4s" initialization="chunk_ctvideo_cfm4s_rid$RepresentationID$_cinit_w43695283_qYXBwaWQ9dHJ1ZWlkdjImdHlwZT1saXZlJnZpc2l0b3I9bW9iaWxlJnVpZD00MzM1MTE1MA==_mpd.m4s">
                <SegmentTimeline>
                    <S t="56785491720" d="360000"/>
                    <S d="360000"/>
                    <S d="360000"/>
                    <S d="360000"/>
                    <S d="360000"/>
                    <S d="360000"/>
                    <S d="360000"/>
                    <S d="360000"/>
                    <S d="360000"/>
                    <S d="360000"/>
                </SegmentTimeline>
            </SegmentTemplate>
            <Representation id="p0va0br818380" codecs="avc1.4d401e" width="640" height="360" sar="1:1" bandwidth="818380" />
            <Representation id="p0va0br1258291" codecs="avc1.4d401e" width="854" height="480" sar="1:1" bandwidth="1258291" />
            <Representation id="p0va0br1887436" codecs="avc1.4d401f" width="960" height="540" sar="1:1" bandwidth="1887436" />
            <Representation id="p0va0br2537779" codecs="avc1.4d401f" width="1280" height="720" sar="1:1" bandwidth="2537779" />
            <Representation id="p0va0br463974" codecs="avc1.4d4015" width="426" height="240" sar="1:1" bandwidth="463974" />
            <Representation id="p0va0br131891" codecs="avc1.42c00c" width="320" height="180" sar="1:1" bandwidth="131891" />
        </AdaptationSet>
        <AdaptationSet id="1" group="2" mimeType="audio/mp4" lang="th" segmentAlignment="true" startWithSAP="1" subsegmentAlignment="true" subsegmentStartsWithSAP="1">
            <AudioChannelConfiguration schemeIdUri="urn:mpeg:dash:23003:3:audio_channel_configuration:2011" value="2"/>
            <ContentProtection schemeIdUri="urn:mpeg:dash:mp4protection:2011" value="cenc" cenc:default_KID="67e5babd-0e78-5cd0-bccd-bae46f10b3c6"/>
            <ContentProtection schemeIdUri="urn:uuid:edef8ba9-79d6-4ace-a3c8-27dcd51d21ed" value="Widevine">
                <cenc:pssh>AAAAM3Bzc2gAAAAA7e+LqXnWSs6jyCfc1R0h7QAAABMiC3NpbGVudF9tYXJ5SOPclZsG</cenc:pssh>
            </ContentProtection>
            <SegmentTemplate timescale="48000" media="chunk_ctaudio_cfm4s_rid$RepresentationID$_cs$Time$_w43695283_qYXBwaWQ9dHJ1ZWlkdjImdHlwZT1saXZlJnZpc2l0b3I9bW9iaWxlJnVpZD00MzM1MTE1MA==_mpd.m4s" initialization="chunk_ctaudio_cfm4s_rid$RepresentationID$_cinit_w43695283_qYXBwaWQ9dHJ1ZWlkdjImdHlwZT1saXZlJnZpc2l0b3I9bW9iaWxlJnVpZD00MzM1MTE1MA==_mpd.m4s">
                <SegmentTimeline>
                    <S t="30285595824" d="192528"/>
                    <S d="191472"/>
                    <S d="192528"/>
                    <S d="191472"/>
                    <S d="192528"/>
                    <S d="191472"/>
                    <S d="192528"/>
                    <S d="191472"/>
                    <S d="192528"/>
                    <S d="191472"/>
                </SegmentTimeline>
            </SegmentTemplate>
            <Representation id="p0aa0br65536" codecs="mp4a.40.2" audioSamplingRate="48000" bandwidth="65536">
        </Representation>
        </AdaptationSet>
    </Period>
    <UTCTiming schemeIdUri="urn:mpeg:dash:utc:direct:2014" value="2019-04-05T08:58:38Z"/>
</MPD>

asking for assistance hacking an encrypted stream? cheeky.

If you can get a Widevine level 3 response from the license server, there have been successful DFA attacks used to extract the key. Levels 2 and 1 have never been broken.
It works on Android because Android includes a secure enclave that prevents keys from leaking.


text:
Tracking mask in Davinci Resolve
Video editing n00b here. I have a clip where a person touches a screen with an access card. I want the screen to be red before it is touched, and green after.
I've used a PlanarTracker node to track the screen, and Corner Pin to place either the red or the green overlay on top. This part works fine.
The problem is that the person's hand and the access card cover part of the screen for a few frames, but the colour overlay is always on top of the hand. I think I need to add a mask to the PlanarTracker that follows the card and the hand, but I don't know how to create this mask.
I tried adding another PlanarTracker using the original clip as input, tracking the card, and connecting the output to the mask input of the first PlanarTracker, but this doesn't seem to do anything.
Any suggestions? What am I doing wrong? Should I follow an entirely different approach?

This is the process of rotoscoping. You'll need to rotoscope the hand so that it masks the colour overlay and the hand shows through.

You need to rotoscope the hand. Go to the Mask-tab and create a new, detailed mask using the pen-tool (the icon looks just like a pen). You can then use keyframes on the timeline at the bottom to animate the mask, so it sticks to the hand perfectly. You can search for "Resolve Rotoscoping Tutorial" if you want more detailed steps with visuals. Hope this helps!

I don't know the footage, but would guess that it isn't good enough for tracking.
In this case, you will need to Rotobrush it. Or manually create a mask. If it is only for a few frames and a smaller part of the screen, I guess a rough mask with a bit of a higher edge blur will do the trick.


text:
How can I export metadata from Premiere Pro
After I log my metadata (including the description and bin allocation) in Premiere Pro, I would like to export this to a table format (Excel or CSV).
Is there a possibility to do this directly or via a script that extracts this information from the project file?


text:
How to read 10-bit RGB values from HDR video?
I had a HDR video and the format is ProRes. The colour bit depth of ProRes is 10-bit. I would like to extract the 10-bit RGB values from the HDR video.
As per this link, I have first converted the 10-bit HDR video to a number of 16-bit TIFF images. However, when I use some program like python to read back the RGB values from the TIFF image, some of the 16-bit RGB values are larger than 1024 (=2^10). It looks to me the 10-bit RGB value has been expanded to 16-bit and store the expanded value in the TIFF image but I am not sure if that is the case. How can I obtain the original 10-bit RGB values from the 16-bit RGB values stored in the TIFF image?

The ProRes input will have YUV encoding, not RGB. If you need a raw dump, save as rawvideo.
ffmpeg -i in.mov -f rawvideo raw.yuv

Note that bit depths which aren't multiples of 8 are still stored in data layouts which are, with padding. So, if ProRes is yuv422p10le in limited / studio range, the 10-bit luma value for a white pixel will be 940 or 1110101100 but will be stored as 16 bits in the file: 1110110000000011 where the order is little-endian.
You can however save as RGB 10-bit (with padding),
ffmpeg -i in.mov -pix_fmt gbrp10be -f rawvideo raw.rgb

where the green plane is stored first, then blue, then red. The above is for big-endian so the byte order isn't reversed.

Sorry for the late reply. If I use the second ffmpeg command to convert the file with the RGB 10-bit format as 'raw.rgb', how can I then convert 'raw.rgb' to  TIFF image? I have tried ffmpeg -f rawvideo -pix_fmt gbrp10be -i raw.rgb -f image2 img%05d.tif but it complains [IMGUTILS @ 015ff914] Picture size 0x0 is invalid raw.rgb: Invalid argument

Replace -f rawvideo raw.rgb with out.tiff

It will show the following warning Incompatible pixel format 'gbrp10be' for codec 'tiff', auto-selecting format 'rgb48le' and I have used the python program to read the images but the values are not 10-bit.

Can your app only read TIFFs?

I am writing a python program to read the RGB values from the 10-bit HDR video. I was planning to convert the video to a number of images and read the 10-bit RGB values. Initially I thought tiff can store 16-bit values so it is suitable to store the 10-bit HDR frames. Unfortunately ffmpeg does not seem have tiff codec to support the gbrp10be format. Any alternative suggestions are welcome as long as I can read the 10-bit RGB values from the HDR video.


text:
Too much bass in desktop sounds with a headset, but not during recording, only afterwards
I recorded some video footages with my voiceover, both with Fraps and OBS. (Also streamed with the latter)

While I was playing everything was fine. (I played with a headset)
When I played the videos on my notebook speaker, they were fine.
But when I played them with my headset on, they had too much bass. But only the desktop sounds. The mic input was fine.

Any ideas?

Are you using an audio interface while recording?

The fact that is sounds fine on your laptop speakers is probably because they do not reproduce much bass anyway.
To be sure that there is a difference in the recording, and the "live" sound, you could directly compare your recording after doing something like listening to a song on youtube, without changing volume. This allows you to go back and forth. If you're sure there is a difference you could post the example here.


text:
FFmpeg NVENC rtsp stream encoding freezes randomly
In some executions of the following command, ffmpeg freezes at certain time and after some minutes starts to encode the stream again. The problem don't happen always. The stream server is an avigilon camera.
 ffmpeg -hwaccel cuda -hex -rtsp_transport tcp -t 60 -i rtsp://user:passwd@ip/defaultPrimary?streamType=u -c:v h264_nvenc -s:v 1080x720 -dn -an -b:v 2.4M -maxrate 2.4M -bufsize 1M -profile:v high
-pix_fmt yuv420p -preset llhq -qmin:v 19 -qmax:v 21 out.mp4

See the log when it freezes:

Am I doing something wrong?This is a known bug?There is a work around solution?
ffmpeg version: N-91936-g776cdd1dc8 Copyright (c) 2000-2018 the FFmpeg developers built with gcc 7 (Ubuntu 7.3.0-16ubuntu3)
CUDA toolkit version: 9.2
NVidia driver: nvidia-396


text:
FFMPEG expand limited range to full range
I am working on a recipe to convert Avid DNxHD files which are rec.709 "legal" range (15-235 in 8bpc) to .png files which are "full" range (0-255). In looking around it seems that "colorspace" could do this, but I am quite new to FFMPEG filters and I can't seem to get it to work... I've looked all over the place but not found a solution to this simple question
-i video.mov -fv yadif=0:0:0,colorspace=srgb transcode_%04d.png just throws an error, and I assume I just don't know the proper syntax (no real example for this in the manual, that I could find).
Separately i thought this might work: -i video.mov -vf yadif=0:0:0,scale=in_range=tv:out_range=full transcode_%04d.png. This runs without complaining, but the output .png's are still in legal range.

How are you checking pixel values?

@Gyan Pulling into After Effects and color sampling. I've got a file exported from Avid as legal, and another as full to compare against.

Take an input which has pure white or black in it and run: ffmpeg -i video.mov -vf trim=end_frame=1,signalstats@pre,format=rgb24,signalstats@post  test.png I assume the black/white portion is visible in the first frame. If not, add -ss X before -i where X should be a timestamp of a frame that has white/black in it. Share log. Add 2> log.txt at end of cmd to generate it.

@Guyan I figured it out if you're interested! I just didn't fully understand filter chaining syntax in ffmpeg, and didn't realize that ffmpeg will automatically default to "full" range as long as I tell it that the source is "tv"...

That's not correct. Output range is determined by destination pixel format, which in turn depends on the pixel formats the encoder allows. full is not an automatic outcome.

@Gyan so I guess because I'm going to .png it is "automatically" working.

Whelp finally figured this one out when I stumbled across the answer in another forum. Pretty simple really, just needed to study  up on filtergraphs. And for the record bwdif deinterlacing is FAR better than yadif! Not sure why anyone even recommends yadif anymore with bwdif out there...
-i inputfile -vf bwdif=0:0:0,scale=in_range=tv outputfile.mov


text:
ffmpeg convert non transparent pixel to white
I'm trying to convert all non-transparent pixels of an image to white using the geq filter in ffmpeg:
ffmpeg -y -i in.png -vf "format=rgba,geq='r=if(lt(alpha(X,Y),10),255):g=if(lt(alpha(X,Y),10),255):b=if(lt(alpha(X,Y),10),255):a=alpha(X,Y)'" x.png

But ffmpeg is giving me black pixels instead of white. Any ideas what is going on?
in.png:

out.png:

The two operand if expression returns 0 if the condition isn't met. You need the three operand version.
if(lt(alpha(X,Y),10),255,p(X,Y))

Thanks, the final one that worked for me is: ffmpeg -y -i in.png -vf "format=rgba,geq='r=if(gt(alpha(X,Y),128),255,0):g=if(gt(alpha(X,Y),128),255,0):b=if(gt(alpha(X,Y),128),255,0):a=if(gt(alpha(X,Y),250),255,0)'" x.png && open x.png

@user984896 – What should I do when someone answers my question?


text:
Marking good and bad takes to help in editing
I've been learning about using different numbers of claps or finger-clicks when shooting my video/audio, so that later in editing they can act as markers as to which takes were good and which can just be ignored.[1] I'm not sure this approach would be used in a multi-person pro environment, but it's in a course on making videos by yourself and I'm finding it really useful since it means I don't have to stop/re-start my camera and sound every time I screw up in my dialog (which is a lot)
So, for example, you might use three claps to mark the end of a good take. That way, when it comes to editing time, you can scan through the audio channel and know that you can ignore any sections not ending with the three tell-tale audio spikes.
My question is: Is there any kind of standard or more comprehensive approach to this?
I guess I'm wondering if there's maybe any kind of overall system of "clap codes" that would include not only the 3-clap "Good Take" indicator but also have, for example, a 2-clap "Mostly Good Take" one. So suppose you were recording yourself speaking a long block of dialog but you screwed up on the very last line. Rather than re-take the whole thing, you might just immediately bash on and try to repair it, re-doing only the messed up last line (and maybe the one or two preceding it), with the intention of then stitching both parts together later, in post. So you'd get something like the following:
[CLAP!]
Lots and
lots and
...
lots of dialog
Second last line
Last line but we made a mistake

[CLAP! x 2]
Second last line
Last line done correctly this time

[CLAP! x 3]

[1] Note that this is in addition to the standard single audio/video sync clap/click inserted at the start of a take.


text:
Recording 720p source with 1080p
I have started video recording some of my game sessions recently. Some of the consoles I am using output 720p and I was wondering what the effect would be, if I record them with 1080p:

How does that impact the file size?
How does that impact the sharpness of the imagery?
Do I gain some advantage this way?
Should I record 720p always with 720p?

You won't gain any advantage. You may lose a bit of quality, as any conversion has a negative effect on quality.

It is best to match the source dimensions with your recoding dimensions. Using a larger number of pixels requires more data or bandwidth to encode the scaled source. You wont be able to make a sharper image as there isnt any additional information being generated and in fact the scale up might make the image softer or add artifacts like aliasing.

While it is true that you can sometimes gain additional sharpness by recording at higher resolution and then downsampling after you have finished any other changes you plan to make, that isn't applicable in this case as your source material is only 720p.
The only reason that downsampling matters is that it can make sure that information that would have otherwise been destroyed is included, but since the source is 720p, there is no additional information to capture and you gain nothing by recording at higher resolution.

If you're going to reduce to 720p anyway then record in 720p as you'll get more footage on the storage device and use less space.


text:
Track and apply fixed positioning in frame for subject
I used tripod to film a subject which is speaking and their head is moving around ever so slightly.
I want to to position the subject based on their eyes so that their eyes do not move at all. I am projecting this video on a Styrofoam head and it is critical the the eye position remain fixed.
I've tried stabilizer, but it still produces a moving subject. I've attempted to use transform and keyframes, but it does not look that good.
Is there a better way to stabilize a subject at a fixed position using a tracker in Davinci Resolve?


text:
How can I do Camera Tracking of turnaround Camera Shot?
Hope you are doing well.
I am working on a Slow Motion Video in which Camera is rotating around a person on a dolly. I want to do 3D Camera Tracking of this Shot. I have tried it Using Adobe After Effects Camera Tracker but I am getting following error:
"Unable to solve camera"
I am not sure what to do about it. So here I need help with that, I need suggestions, and guidelines about how to do it actually and which software should I use for this kind of Camera Tracking.
This is
Video for Camera Tracking
Please have a look at above video and help me to do Camera Tracking.
Waiting for response.
Thanks

I just wanted to comment that your footage looks awesome! I wish there was more light on the kicker, but other than that it's dynamic, smooth and excellent. I hope someone provides you with a camera-tracking solution.

You can check PFTrack.
Also there are another good trackers options like Boujou, Syntheyes, Mocha Pro, Match mover, 3D Equializer ...
NukeX has also a good tracking suite.


text:
How to optimize already-encoded videos of still images (e.g. presentation slides)?
I have a H264 video that is, for the most part, just a video of presentation slides.
It doesn't seem to me that it's as well-compressed as it could be.
Given that it's a video of presentation slides, the vast, vast majority of the frames should be exactly the same as each other.
To the extent that they are not identical, it would be due to encoding noise.
My question is, is there any way (e.g. in FFMPEG, or via other tools) I could automatically "detect and repeat" such similar frames in these videos, so that any consecutive frames that are identical to within some small epsilon tolerance are automatically deduplicated and merely repeated from prior frames, so that the frames are encoded once?
Note that there are random bits of normal film video in between, so I can't assume the entire video is like this. But maybe 90% of it is like this.
(Ideally unaffected parts of the stream would be copied directly without being re-encoded, but if this isn't possible then I can live with a bit of quality loss.)

you can improve the x264 encoding performance for still images by using -tune stillimage in your ffmpeg command.

@stib: Yeah, I've already tried that, it increases the file size instead of decreasing it.

(Ideally unaffected parts of the stream would be copied directly without being re-encoded, but if this isn't possible then I can live with a bit of quality loss.)

First of all, I doubt there's a way to do this losslessly. Very few things that touch the actual, encoded video content in any way can be done without re-encoding.
That said, I tried out a few things just now and found that a very effective way of doing this is making the video frame rate variable and dropping duplicate frames using FFmpeg's mpdecimate filter:
ffmpeg -i input.mp4 -vsync vfr -vf mpdecimate output.mp4
The mpdecimate filter has a bunch of additional options that can be set but I found the default worked just fine. I downloaded this video with youtube-dl, encoded the first 5 minutes of it with standard options -c:v libx264 -an -t 300 -crf 22 -preset medium. I then encoded the same part of the video with the additional options -vsync vfr -vf mpdecimate and the resulting file was 42% smaller than the one encoded with a constant framerate. 30.8 MB vs 18.0 MB. The encoding process was also significantly faster since there were much fewer frames to encode.
However, I've heard that some players may have trouble playing variable frame rate video and that it can also cause audio sync issues. So I also encoded a version with the same settings but included audio as 64k Opus. I played the video in mpv and Firefox and didn't observe any audio synchronisation issues.
What I did notice was that this does affect seeking, sometimes quite dramatically. Firefox was able to seek fine for the most part, but when seeking to some parts of the video FF would display a frame that was long past (like a picture of the speaker at 2:03) and only start playing from a more recent frame about two seconds later but sometimes this would continue for a long time, like 40 seconds. However, when playing the video without seeking playback was perfect.
mpv played the file perfectly too and seemed more adept at seeking. However, some parts of the video couldn't be seeked to (presumably due to the same issue/property of the file which caused FF to have trouble with seeking) and would jump ahead or behind the spot I attempted to seek to. Both of these player issues probably have something to do with the general lack of frames inside the video. AFAIK most players use keyframes for seeking and services like Youtube use a keyframe interval of about two seconds to make videos easier to seek. So this issue probably can't be fixed without sacrificing the file size decrease gained from throwing away duplicate frames.
Due to these issues I wouldn't really recommend this method for video that's intended for wide distribution. However, it's probably fine for video that's inteded for personal use or archival. With the latter purpose in mind I attempted to re-encode the variable framerate video back into a constant framerate one using the -r 30000/1001 switch, just to check that it works, and ran into this issue with the audio. I used the -max_muxing_queue_size 9999 switch and the encode worked just fine and the resulting file played without issue. So as long as your tools are up to the task this should be a viable method of archiving video material.
Since this method does involve re-encoding you're going to lose some quality. However, since getting rid of duplicate frames significantly reduces the file size with this type of content, you can probably lower the CRF value to a point where the visible quality loss is almost insignificant and still end up saving a lot of space.

+1 thank you! I will check this out when I get the chance.

Video codecs already do this. They will insert key frames regularly however to make sure you can still seek to random times within the file without having to decode the entire thing. Most encoding tools let you change that interval.

This is frustrating. Your idea that the codec is somehow already achieving this is simply wrong. I have a 331 KB, 1-minute MPEG-4 AVC (part 10) video that is entirely a video of a single presentation slide. Its key frames come every 5 seconds. Yet no matter where I cut it by 1 second, its space usage decreases approximately proportionally, with only a minor difference if I hit a key frame. It is very obvious to me that there is a lot of room for improvement in whatever the codec has encoded in between the key frames. The problem is very clearly not the key frame spacing.

@Mehrdad Can you share this file?

@user541686 You can convince yourself along an easy example. Take a white rectangle (convert -size 1920x1080 xc:#ffffff white.jpg, size: 12 kB) and create a 1 min 25 fps video out of it (ffmpeg -loop 1 -i white.jpg -t 60 -c:v libx264 -r 25 -bf 16 -an white.mp4) - thats 1500 frames. The resulting file is just 116 kB (that is 6 key frames [aka I-frames], 90 P-frames and 1404 B-frames).
P.s. You can additionally save 4 kB using just one initial key frame (-g 1500).


text:
What does the `-context` parameter mean when using FFV1 in ffmpeg
In the docs for FFV1 there's a parameter -context, which can be set to 'small' or 'large'. That's all the documentation I can find.

While I'm at it, what are the relative benefits of the different encoders: Golomb Rice vs Range Coder?

The coder here refers to the process used for entropy coding the error residuals. The context size sets how many neighbouring residuals are considered in this process.
As to the relative benefits, have no particular experience here, but since this is a lossless process, the tradeoff will be between time, size and resource use. This latter question is better suited for https://dsp.stackexchange.com/

About your other question regarding the -coder option, I was also looking for more info on this.
The current (Dec. 2020) IETF/cellar WG draft "FFV1 Video Coding Format Version 0, 1, and 3" mentions in it's "4.2.3. coder_type" chapter :

Restrictions:
If coder_type is 0, then bits_per_raw_sample SHOULD NOT be > 8.
Background:
At the time of this writing, there is no known implementation of FFV1 bitstream supporting Golomb Rice algorithm with
bits_per_raw_sample greater than 8, and Range Coder is prefered.

So without understanding much about it, I just concluded : "always use -coder 1" ... :-)


text:
Where to input a log expression in FFMPEG
Im trying to use a expression from NUKE (to convert an exr sequence from its native format into AlexaLogC. Now ive got an expression from nuke which is the following
x > 0.14996582 ? (pow(10,0, (x - 0.385537) / 0.2471896) - 0.0522720) / 5.5555556 : (x - 0.092809) / 5.367655

been trying to find a spot to place this inside a FFMPEG filter to allow it to bring my footage to the right starting point so i can apply the lut from on set on it.
Was wondering if anybody here had advice on how to correctly filter this into ffmpeg.

That expr looks like it works on normalized values. What is the pixel format? RGB 16-bit? pow has three arguments - what is the definition?

RGB 16BIT yeahw

Basically need ffmpeg to being it to the alexa color space so i can use a lut on it from DI

pow has three arguments - what is the definition?

@Gyan its not HDR

2048 X 968 Alexa Scan maybe it is HDR who knows but the whites are blown out and they come in better when i use the alexalogc curve in nuke need that in ffmpeg

I still need the definition of nuke's 3-arg pow function that is shown here.

@Gyan where can i get that info ? i just copy pasted the expression from nukes color preferences

Probably the manual or other Nuke users.

@Gyan so assuming i get that there is a way to fire this into ffmpeg ?

yes, using a combination of filters

@Gyan im looking around now for it

@Gyan cuz this is just the basic AlexaV3LogC curve from nuke

@Gyan
http://strattoncamera.com/pdf/11-06-30_Alexa_LogC_Curve.pdf

I only see two args in (t > e * cut + f) ? (pow(10, (t - d) / c) - b) / a: (t - f) / e

@Gyan yeah i guess thats all i could find on it

This is the original expression to be implemented.
x > 0.14996582 ? (pow(10,0, (x - 0.385537) / 0.2471896) - 0.0522720) / 5.5555556 : (x - 0.092809) / 5.367655

where x is the pixel intensity normalized to [0,1]. x is linear, so gamma returns identity.
I'm going to assume the 0 in the pow expression is an extraneous arg since the linked reference at http://strattoncamera.com/pdf/11-06-30_Alexa_LogC_Curve.pdf depicts pow() as having only two arguments. I'm also assuming that the input is 16-bit full-range integer RGB.
ffmpeg -apply_trc linear -i in%d.exr
       -vf "lutrgb=r='if(gt(val/maxval,0.14996582),maxval*((pow(10, (val/maxval-0.385537)/0.2471896)-0.0522720)/5.5555556),maxval*((val/maxval-0.092809)/5.367655))':
                   g='if(gt(val/maxval,0.14996582),maxval*((pow(10, (val/maxval-0.385537)/0.2471896)-0.0522720)/5.5555556),maxval*((val/maxval-0.092809)/5.367655))':
                   b='if(gt(val/maxval,0.14996582),maxval*((pow(10, (val/maxval-0.385537)/0.2471896)-0.0522720)/5.5555556),maxval*((val/maxval-0.092809)/5.367655))'"
        out%d.tiff

Thanks for much for helping out @gyan, tried it and its still blown out but seems this is definitely the filter to use, the highlights got completely blown up

You need to verify range and the expr. How are you viewing the TIFFs?

doing it in nuke / after effects and i need it to output EXR's not TIFFS but both are ok :)

FFmpeg does not have an EXR encoder. Are you sure the input is full range?

i meant to type i want the output to be mov eventually when i can sticth the files but im just viwing the images in after effects

also yes input is full range as nuke handles it just fine

I ended up doing it in OpenImageIO, FFMPEG couldn't do the job for me


text:
How to move a layer using a slider control?
I'm trying to create a mogrt file that has the option of moving a layer using a control (instead of just moving it on the timeline).
Is there a way to create a slider control for example that allows to adjust some kind of "offset"?

Do you mean adjusting the region in time, or in position?

In time. I really want to be able to move a layer from 00:05:00 to 00:07:00 with a slider. Not sure if it would be possible, that's why I am asking :)

Yes, in short. But you will need to learn Expression Controls.
Search YouTube for "Expression Control Slider After Effects"
There are a lot of good tutorials which will walk you through the process.


text:
How to use ffmpeg drawtext without changing the width of a video
Folks, I am trying to add text to an mp4 file.  Seems easy enough right?  But once the new mp4 file is generated, the new file has half the width of the original file and is higher.  It is almost like it switches the mp4 file from landscape to portrait?  Here is the command I am using:
ffmpeg -i file01.mp4 -vf drawtext="text='Text Here': fontcolor=white: fontsize=24: box=1: boxcolor=black@0.5: boxborderw=5: x=(w-text_w)/2: y=(h-text_h)/2: enable='between(t,20,30)'" -codec:a copy file01Text01.mp4

I then attempted to stop drawtext from distorting the video stream but this results in an error:
ffmpeg -i file01.mp4 -vf drawtext="text='Text Here': fontcolor=white: fontsize=24: box=1: boxcolor=black@0.5: boxborderw=5: x=(w-text_w)/2: y=(h-text_h)/2: enable='between(t,20,30)'" -c copy file01Text01.mp4

Any help on seeing how I can modify the command so that the video width/height is not changed would be appreciated.  Thank you.

drawtext cannot alter the video frame size. Your video is most likely portrait but stored as landscape with a rotation tag, and ffmpeg auto-rotates the video for you. Add -noautorotate before -i to avoid that.

Gyan, it worked fine.  By any chance do you know how to change the video to landscape and remove the rotation tag?  I still am having problems when I upload it to youtube.  It again tries to put it in portrait.

Add -metadata:s:v rotate=0 before the output filename.

Gyan solved it: (see comment above)
drawtext cannot alter the video frame size. Your video is most likely portrait but stored as landscape with a rotation tag, and ffmpeg auto-rotates the video for you. Add -noautorotate before -i to avoid that.


text:
Do people fundraise to help someone buy a camera?
I have been borrowing my library's camera the past few months and am getting sick of it. I want to buy my own camera, but the camera I want costs around $1600. I do not have that money but really want to get a camera to embark on a film project that would mean a lot to me and has an inspirational message. Can organizations, schools, and individuals provide funds or grants to help?

I suggest starting with a smartphone for $20, does not even have to be connected to the cellular network. Or any used consumer camera off eBay for around $100 or less. Build a portfolio, then maybe get some paid customers, then you will have money for a bigger camera.

I remember when I was in high school I used to borrow their Canon 600D to use over the weekends. I loved it, but it was upsetting to have to return it every Monday. Like you, I couldn't afford to buy one at the time.
It wasn't until I got a casual retail job that was able to buy my first camera.
Now I'm a little older and have a steady(ish) income, I'm able to lease more expensive cameras and pay them off over time.
I'd argue that if you're after an individual/organisation to offer you a grant, you'd need a solid portfolio to convince them to do so. If no-one seems interested, then I'm afraid you'll need to wait and buy one yourself.
It doesn't need to be a $1600 camera right now, it can be an older second-hand one, because ultimately, if you have a good story, it doesn't matter what camera you use to tell it.

You can always hire a camera cheaply for a project or if you have a project that you want to film then you could crowdfund that.


text:
How can I change slice_type which is show in Elecard stream analyzer using ffmpeg?
I'm not ffmpeg and encodding expert and am trying to encode a MP4 file to MPEG-4 h264.
When Elecard stream analyzer is analyzing my result .ts file, it shows slice_type = 7 for all of i-frames as you can see in the attached screenshot.
How can I change all these to slice_type = 2?
My ffmpeg command:
-i Source.mp4 \
-filter:v 'setpts=0+PTS-STARTPTS' -metadata:s:v:0 start_time=0 \
-f adts -c:a libfdk_aac  -profile:a aac_he  -strict -2 -ar 48000 -b:a 48k \
-f mpegts -c:v libx264  -vbsf h264_mp4toannexb -strict experimental -    profile:v main -level:v 3.0 -preset:v slow -movflags faststart -pat_period 100 \
-x264opts nal-hrd=cbr:force-cfr=1 -crf 25 -vf scale=w=640:h=360 -aspect 16:9 \
-bf 1  -sc_threshold 0 -keyint_min 2*25 -g 2*25 \
-force_key_frames "expr:gte(t,n_forced*50)" -max_muxing_queue_size 1500k \
-coder 1  -refs 2 \
-b:v 750k -minrate 750k -maxrate 750k -bufsize 1500k \
-vsync 1 -framerate 25000/1001 \
-x264opts "bitrate=750:vbv-maxrate=750:vbv-bufsize=1500"\
-pix_fmt yuv420p  -r 25 -x264opts force-cfr \
-mbs_per_slice 1 -y dest.ts


text:
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.

I would use Templater Rig to achieve this.
You can specify lines of text to be replaced from a spreadsheet, .csv file or a Google Sheet.
You can specify images to be replaced in the spreadsheet
You can automate the repeated rendering of a comp with different content inserted for each render, and a relevant filename change for each render.  It's exactly the kind of thing you need, I reckon.

Templater looks awesome.

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.

I like free, but learning curves aren't always fun...

Well if you already code/have scripting experience, AutoIt would be a fairly steep learning curve (steep as in hard in the very begining but you'd pick it up quickly and be coding in no time). WinAutomation is more of a drag and drop system with a very robust GUI that automates a lot of the hard coding. I have used both, and use WinAutomation for most automation jobs simply because it's so fast, has a built in debugger, and I can output to EXE and just run the automation as needed. AutoIt is far more flexible and allows for more possibilities.

As efficient a scripter as I am, it may be faster to manually make all the slides before I figure out how to write the automation script... I don't doubt AutoIt is a powerful and effective tool, I simply doubt my abilities. Other people may find this answer extremely useful though.

If you want to make slides, you should use a slide making app, like powerpoint. You can then export power point slides as image files, which are usable in After Effects. I can't recall exactly how, but I'm pretty sure you can import data from excel to powerpoint. I have a memory of doing something similar about 10 years ago. Try this help file

This is one way of going about it, but I'm hoping to do something with video and dynamic content as well.

@Shem I see. I'm afraid I can't help then. I don't know ae at all.

Here's a related tool if you are going to save ppt slides as images. Easy change Powerpoint image save resolution tool


text:
The 4k videos from Sony a7iii are quite large by default, suggestions on HQ ways to compress?
The videos directly from the Sony a7iii set to 4k 100mbps are quite large. I've tested compressing them separately and see little video loss. I wonder if the camera has an option to by default apply some minimal lossy/lossless compression to keep the quality but reduce file-size?

Well first, the a7iii at 100mbps is far from lossless or even minimally lossless. It's highly compressed in a 4:2:0 or 4:2:2 colorspace depending on your recording selection. The files are incredibly compressed when compared to what's considered minimally lossless or lossless compression algorithms. Shooting 4K at a "near" lossless level would require 4:4:4 and a codec such as REDCode at a compression of 4:1 or 3:1. These files are astronomically larger.
As far as in camera, you're limited to what the camera provides as options, in terms of 50mbps, 100mbps, and so on.
Your only real option to compress down and reduce file size would be to run the files through an encoder, either a real time "live" encoder which captures the video from the camera's HDMI out, or in post production, using Adobe Media Encoder or a similar application.
With 4K, you could compress down, if you are happy with the color and don't plan to do any additional color correction later, to a 4:2:0 H.264 or H.265 codec using an MP4 wrapper. Using a Variable Bitrate, depending on your content/how much motion/detail/etc, you could likely get very good results with bitrates in the 25-50mbps VBR, allowing a Max Bitrate to be set up to 100mbps.
Adobe Media Encoder is available from Adobe and comes with Adobe Premiere. Your best bet if this is something you need, is to run some trials, and to find the best "acceptable" bitrate you can live with for archival purposes.


text:
How can I force YouTube to convert my video's audio stream to Opus or Vorbis / Youtube Red issue
I know the answer, which is probably "there is no way", but bear with me for a moment.
I am uploading videos to YouTube, and on my Android phone I am downloading them using YouTube Red. I am playing these downloaded videos in the YouTube app in the background, when the screen is off. This works with the vast majority of the videos, except the ones that I am uploading. I did read the recommended upload formats, I tried several codecs, but no luck. My audios stop the second I am shutting off the screen.
What I finally found using youtube-dl -F is that my videos do not have audio-only streams with webm extension, only as m4a (after Youtube processed them). So my question is: what makes Youtube create webm audio files for some videos, but not for the others? Is there a way to force this (I suppose not). Is there a way to suggest it? As I mentioned, I tried a wide variety of codecs - video and audio, and the combinations - when generating my files for the upload.
A sample output for a file that works with Youtube Red playback in background:
format code  extension  resolution note
249          webm       audio only DASH audio   52k , opus @ 50k, 73.58KiB
250          webm       audio only DASH audio   66k , opus @ 70k, 92.62KiB
251          webm       audio only DASH audio  114k , opus @160k, 161.14KiB
171          webm       audio only DASH audio  115k , vorbis@128k, 161.27KiB
140          m4a        audio only DASH audio  127k , m4a_dash container, mp4a.40.2@128k, 180.79KiB

and the output for one file which does not:
format code  extension  resolution note
139          m4a        audio only DASH audio   49k , m4a_dash container, mp4a.40.5@ 48k (22050Hz), 1.20MiB
140          m4a        audio only DASH audio  129k , m4a_dash container, mp4a.40.2@128k (44100Hz), 3.20MiB

YouTube currently does not have any encoding options for content creators.
As far as why some videos are encoded as webm and others in different container types, I don't believe there is any documentation on that whatsoever. YouTube may be beta-testing specific codecs, to see how codecs perform/stream for end users, or there may be a specific matching system whereas input = specific output attributes.
When you upload a video to YouTube, the video is re-encoded using a Variable Bitrate at the highest resolution / matching resolution of the original upload. If the uploaded video is larger => 360p then smaller versions are also encoded for multiple streaming options (240p as an example).
But there is no current way to force the YouTube encoding platform to encode to a specific codec, and even you were able to figure out what input codec would result in a specific desired output codec, it may only be temporary. I only mention this because YouTube has stated it is currently experimenting with new codecs, including closed source proprietary codecs and encoding algorithms... so what works today may not tomorrow.


text:
Jumpy video in scenes with movement
i am trying to recode a video from 4096 to 3840 which i did succesfully with this line:
ffmpeg -i C:\Alien.mkv -vf scale=3840:2160 -c:v libx265 -crf 18 -acodec copy D:\Alien1.mkv -hide_banner
But the result video seems jumpy, like there is a pause between frames and it happens only when the scene has movement. The input and output framerate is the same (23976). Dont know what to do.

Is it jumpy in all scenes with motion?

yes, only when there is movement involved

when people stay put making conversation is fine, but as soon as they start moving it goes jumpy


text:
ffmpeg concat videos, some have audio some don't
I have 4 videos I am trying to string together and here is my command
bin/ffmpeg.exe -f concat -safe 0 -i concat.txt out/documentary_full.MOV

Here is what's in concat.txt
file '/path/to/clip_with_audio1.MOV'
file '/path/to/clip_with_no_audio1.MOV'
file '/path/to/clip_with_no_audio2.MOV'
file '/path/to/clip_with_audio2.MOV'

I noticed in the output that when it ends attaching the second clip it gives the following error
[mov,mp4,m4a,3gp,3g2,mj2 @ 05cac5a0] Auto-inserting h264_mp4toannexb bitstream filter
[aac @ 062e05e0] Reserved bit set.
[aac @ 062e05e0] decode_band_types: Input buffer exhausted before END element found
Error while decoding stream #0:1: Invalid data found when processing input

When I play the final output video, I notice the player when it reaches the point where it begins the second clip portion, it skips the whole portion, seeks a few seconds forward and continues playing the video after seeking from that point. How do I fix this?

It looks like the first input's audio is corrupted, but it it hard to say without accessing to the input sources. Could you try to build the transcoding pipeline by following the tutorial here? https://www.bugcodemaster.com/article/concatenate-videos-using-ffmpeg
It might tell FFMPEG more clear which stream to choose to avoid confusion.


text:
How compatible are high dynamic range and fast movements?
I wanted to know how HDR would be useful for fast movement as I want to look into cameras that will move through regions of bright light and shadows and so, I want to see how I can make the footage more clear rather than get bland too bright and too dark components largely in the video. I want to check how action cameras implement such huge dynamic ranges. I'm a beginner and am slowly learning, so I might not have understood this right, but please help

There is rarely a direct relationship between HDR, or dynamic range in general, and motion artifacts. There may be an indirect relationship when trade offs are made for transmitting or storing the increased dynamic range. A specific implementation might reduce the frame rate or increase the compression in ways that introduce motion artifacts.

Hey, Thank you for the answer. I'm looking to mount it on a plane that will fly pretty fast. And I need it to adapt quickly as it flies. It does have autopilot but we want the FPV Experience to be recorded and so, I was wondering how to select the cameras and what kind of effects could be detrimental to the footage. I'm not sure what to ask or where to look, so any insight helps.

If you see the term "HDR" applied to cameras (vs. display technology), it's nonsensical market-speak.
The metric which does describe a camera's exposure latitude is its "dynamic range," and the unit of measurement is "stops" of light.  An expensive cinema camera like the Alexa mini (which is probably too heavy for consumer grade hobby aircraft) records 14 stops of dynamic range.  A Blackmagic Micro cinema camera, which is closer to the size of a GoPro records 13.  GoPro themselves don't advertise this number.  But for practical applications like the one you're describing, it doesn't matter.
The reason dynamic range is important to a cinema camera is that cinema cameras don't use auto-exposure.  Auto-exposure tends to cause abrupt, mechanical changes in image brightness of which a Director of Photography has little control.
Action cams, on the other hand, must adapt quickly to changing light without user intervention.  So for them, fast auto-exposure is a necessity.  Since they change their exposure rapidly, and autonomously, the latitude of dynamic range they can capture per single frame is less relevant.
To my knowledge, there is no codified metric for how well an action cam's auto-exposure performs, so I would look for sample footage and judge for myself.
Now, HDR as it applies to display technology is another matter entirely, and higher peak nit values will translate into a better viewing experience.  Cameras have always been able to record a wider exposure latitude than displays can reproduce, which is why an "HDR" camera is nonsense -- they're all "HDR."


text:
webm dash manifest.
I tried to create mpeg dash. here's my flow :

source.mp4 (UHD 4k) converted to 1080p, 720p ... 144p using following command:
ffmpeg -i {source.mp4} -c:v libvpx-vp9 {size} -b:v 1500k -keyint_min 150 -tile-columns 4 -frame-parallel 1 -an -f webm -dash 1 {output.webm}
audio get splitted using:
mpeg -i {source.mp4} -c copy {sound.m4a}
then convert to webm using:
mpeg -i {sound.m4a} -c:a libvorbis -b:a 128k -vn -f webm -dash 1 {audio.webm}

3 create manifest using :
ffmpeg \

-f webm_dash_manifest -i output-1080p.mp4 \
-f webm_dash_manifest -i output-720p.mp4 \
-f webm_dash_manifest -i output-480p.mp4 \
-f webm_dash_manifest -i output-360p.mp4 \
-f webm_dash_manifest -i output-240p.mp4 \
-f webm_dash_manifest -i output-144p.mp4 \
-f webm_dash_manifest -i audio.m4a \
-c copy -map 0 -map 1 -map 2 -map 3 -map 4 -map 5 -map 6 \
-f webm_dash_manifest \
-adaptation_sets "id=0,streams=0,1,2,3,4,5 id1,streams=6" {manifest.mpd}

the question is. why after step 3 manifest.mpd is empty, what should be the contain of manifest.mpd file?


text:
Can text clips be converted into captions in Premiere Pro?
I have a Premiere Pro video project in which the subtitles have been created as titles with the Type Tool. Is there any way to convert the text clips on the timeline into captions, with the already set durations, or to export them as a subtitle file such as .srt?

Have you tried uploading to Youtube and using their automated caption creation tool?

Hi capogear, welcome to Video Production SE.  Unfortunately this doesn't really answer the question.  The user has already entered text clips with all the caption details and now needs to convert what they've already done.  The final post might also not be Youtube, so having Youtube do automated captions isn't really going to meet their needs.


text:
Transport moving object/person to another video
For a video.How can i keep a moving person from a video,and move that person (moving person) to another video.I mean something like that

What software i need and what i have to do to accomplish that.

Welcome! Can you be more specific? What exactly are you trying to do? Is the video you shared an example of what you want to do or your source footage?

The answer you're looking for is called "masking."
You can find this tool in the majority of professional editing software, but I personally recommend adobe after effects. There is also a chance that some of "moving objects/people" are already presented on green screens-- where as masking would usually be necessary, a "chroma key" would instead take the job.
Simply "cutting out" the moving figures isn't the only technique seen in this video. If you plan to execute a video in this fashion, you'll need to both cut out the "moving figure," but also motion track these figures onto the new composition. From there you'll need to manipulate their positions in order to make a convincing and visually appealing effect.
Good luck!

You need to rotoscope/mask the footage with After Effects you want to move and render with an alpha channel then overlay on to the other footage


text:
Would repeatedly importing and exporting H.246 video result in loss of quality?
After exporting a time lapse video as H.246 mp4 using Adobe Premiere I realized I wanted a second copy without sound, but I had already changed the settings.  To save time I simply imported the mp4 to Premiere and then exported it again with the same H.246 settings but without the audio channel.
After close analysis of the 2 files I can't perceive any loss in quality, but I worry that I may have lost a tiny bit of quality through this process. Would repeating this process eventually result in noticeable loss of quality?

Compression by default is removing information. “Lossless” compression, if repeated, will indeed result in degradation after a few generations.
Higher compression rates will degrade after fewer generations.

If you give same bitrate setting (I assume it is configurable in Adobe Premiere), I don't expect you perceive the quality difference.
You could use FFMPEG to remove the audio on your first output with -an flag. Command will be like
ffmpeg -i first_output.mp4-c copy -an nosound_output.mp4
Reference

Thanks.  I tried your FFMPEG solution to see if there was any difference.  Resulting total bit rates as follows:
1st output: 42953kbps
2nd output: 42584kbps
FFMPEG output: 42629kbps


text:
What HD projectors have a 80" screen at about 13 feet?
We are trying to replace an older Optima projector, but we'd like to upgrade to something that can be used to show higher resolution, has more lumens, a longer lamp life, but will still work with our audio equipment.  We bought something and had to return it, because we couldn't get the display small enough in our room.
The wall area we have to use is 43" high, 70" wide, so about an 80" diagonal.  The projector itself is set at 12" 7" (152") away.  To get it any closer, we'd have to have it hanging above our heads.  And the room is designed with the ceiling angling down, so ceiling mount is out.
The audio equipment has ordinary analog input.  We have a blu-ray player (not yet used) with HDMI and digital audio output.  Ideally, the projector would have plugs for RCA phono-jacks.  In other words, we have a nice library with a wall, nice old speakers, and would like to upgrade so we can watch blu-ray without replacing everything and perhaps also having to move to a completely different space.

You need to look for the lens throw ratio. That number will tell you how big the size of the image is going to be. Also many projectors have zoom capabilities.
A lens with a 2.0 throw ratio means that for every unit you go away from the projecting surface, the size of the image will grow 2 times (simplest example, you won't find that specific throw distance). So 152"/ 70" gives you a throw ratio of around 2.17.


text:
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).

Thank you so much, that seems to have worked perfectly. I really appreciate your help! Apologies for the late reply; I was expecting email notifications!

Hi veikk, sorry to ask you this but I was wondering what the equivalent command might be for HD footage?

This answer builds on the one above by veikk0 with some thoughts on how this can be incorporated into a more automated workflow.
You can automate this using a windows batch file. Create a new text file with Notepad or your preferred text editor and include the following
+@echo off
set currentPath=%~dp0
set targetPath=%~dp0
:Loop
echo "%~1"
IF "%~1"=="" GOTO Continue

"%currentPath%ffmpeg.exe" -i "%~1" -c:v dnxhd -profile:v dnxhr_hqx -color_range 2 -c:a copy "%targetPath%%~n1dnxhr_hqx.mov"

SHIFT
GOTO Loop
:Continue
pause

Save the file as 10bitTranscode.BAT in the same folder as your ffmpeg.exe
Now open the windows Run dialog (windows key + R) and run shell:sendto . This will open the Windows SendTo folder. Create a shortcut to your .BAT file in this folder (by right-click dragging the bat file over to the SendTo folder and selecting 'Create shortcut here' from the menu that appears).
Now you should be able to select a whole bunch of clips in File Explorer, right click on them, and select SendTo > 10bitTranscode.BAT and windows will automatically batch transcode all of them in sequence.
By default the outputted files will be saved in the same folder as ffmpeg, but you can have the output written to a different folder by editing the set targetpath= line in the code above to set targetpath="<your desired output path without trailing \>".

Sorry, just missed out on free version of resolve..
For conversion you gotta use ffmpeg. I'm afraid that's the only solution I can think of right now.
CONVERT H. 265 encoding 4:2:2 in 10-bit with libx264
If your system cannot handle it, try using a proxy workflow or the optimized media.
It converts the file internally..
Check out this tutorial for furthermore

OP is using the free version of  Resolve which doesn't import HEVC


text:
Connecting threaded 3.5mm jack plug to non-threaded socket?
I have a lav mic with a threaded jack at the end. It came with a Sennheiser Transmitter/Receiver pair and has a threaded jack to connect into the Transmitter which has a threaded socket to match.
However, I often don't need the distance the RF gives me and it would be easier just to plug the lav mic directly into my recorder -- usually a Zoom H6, but sometimes even just an iPhone.
Trouble is, neither the H6 nor iPhone have a threaded socket and the construction of the threaded jack on the lav is such that it can't fit all the way into a normal unthreaded socket. In fact it even bounces out since the threading is on a little spring-loaded collar.
I've hunted all through my kit to find some combination of my existing bits and pieces that would let me connect lav to H6, but no joy. But now I'm wondering if maybe what I'm trying to do is in some way verboten , and the threaded-osity (it could be a word!) is kinda like a key or warning not to do it!
So, is it OK to do what I'm trying to do -- connect lav to H6, or lav to iPhone -- or is it a recipe for frying some wee input or output component? Or if it's a legit thing to do, then what's the normal way to do it? Is there a name for the converter/doofer/widget I should be looking for to allow me to connect my threaded 3.5mm male to connect to an unthreaded 3.5mm female?

Welcome! What make and model is the microphone? Do you have a link to a spec sheet, manual, or anything else helpful?

All I know is it came with a Sennheiser G3 kit. So probably the ME-2 but I can’t be 100% sure. That said, the most important part of my question is really the physical connection — i.e. 3.5mm threaded jack into non-threaded socket. I’d imagine that is pretty standard (although, again, I can’t be sure).

This? https://m.cdw.com/product/Sennheiser-CL1-microphone-adapter/3694483?cm_cat=GoogleBase&cm_ite=3694483&cm_pla=NA-NA-SEN_MI&cm_ven=acquirgy&ef_id=Wxw0PAAABTHR@hgM:20181002202403:s&gclid=EAIaIQobChMI_9bt-cro3QIVGNRkCh1PXA0JEAQYFiABEgJHKPD_BwE&s_kwcid=AL!4223!3!250790903421!!!g!301248646211!

Thanks. Almost. But that's threaded plug to unthreaded plug. I need threaded socket to unthreaded plug. But your example prompted me to search more, and at one point I stopped looking for "threaded" and started looking for "locking", which is at least as common a descriptor. I think this is what I'm after.


text:
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.

Can I ask you something about your recent edit on the FFmpeg wiki regarding libvpx? Your edit says -speed 4 in the first pass is actually detrimental, yet it's mentioned in the Google documentation here). But I guess the latter is simply incorrect? (I haven't yet verified running the commands.)

VP9 encoding was only added in Kaby Lake.


text:
Software for marking AND describing places in video
When editing sport videos one of the most tedious and time consuming parts is actually watching the footage and describing where, what and what is quality of the part of the video.
For now I haven't found better technique than just watching it, pausing on the spot, typing time and description in excel like :
GOPRO1234.mp4 | time : 02:34 | quite decent jump ! | rating 5/5 | category : jump
Then I can sort and filter this..
But this takes a lot of time. I know that editing software gives flags and markers in different colors but I need more than that to think later what should go where in my video.
Do you know any software which allows to do it efficiently? Like photo categorization software but for videos. My dream workflow would be to be able to stop a video and get an easily keyboard navigated popup with time marked automatically, then just type description, set tags and hit ENTER and go further.
Any suggestions? Free software would be the best, but of course if there are also any paid alternatives - give me a hint!

I don't know of any sports video shot logging tools designed for personal use. Most are part of MAM systems. This site compares logging tools for cinematic production, but you can extrapolate from that. Both Adobe Premiere and Prelude include logging tools that let you set ratings and enter comments. You can use subclipping and bins to replicate the category part of your workflow.

Thanks for the links. It doesn't have to be really focused on sports, can be generic. What I look for is something generic with multiple fields/tags - does Premiere/Prelude support this? I've seen somewhere that Prelude allows to export to csv, which might at least partially fulfill my needs. (My workflow involves Davinci Resolve, not Premiere).

I think Resolve, at least the paid version, has similar features.

Haven't found any documentation about it , except markers and flags (no comment and timescope there ) as about Resolve , even in paid version.  Prelude looks interesting though (but it has no tags , just text comment) - but at least allows to export to CSV


text:
ffmpeg alternative to setpts for making a survey gif
I have a 30fps video that is 234 minutes long and want to shrink it down to 2 minutes.  1-(234-2)/234) gives me 0.0085 which I use
ffmpeg -i source.mp4 -vf setpts=PTS*0.0085,palettegen palette.png
followed by
ffmpeg -i source.mp4 -i palette.png --filter_complex setpts=PTS*0.0085,paletteuse survey.gif
Actually making the gif is excruciatingly slow compared to extracting the desired frames into a massive directory of png's which I can then combine with convert into a gif.  Aside from my main question, it doesn't seem like ImageMagick's convert supports user supplied palette files.
I understand that PTS is just adjusting how long a single frame is shown in a video but setpts has felt like the only reliably precise way of cutting the source.mp4 down.
I looked at framestep and it is much better for speed but I couldn't figure out an ideal value for framestep that wouldn't make the resulting gif step from one frame to the next like what I would get from using convert and a delay of 0.5 between frames.
Aside from above, these survey are meant to quickly scan through hours of video for various points of concern in a gif format able to be uploaded privately to imgur or giphy so others on my team could review them remotely and without ftp/dropbox/etc.

Do you wish to retain all frames and cycle through them in 2 mins, or pick just enough frames to have a 2 min 30 fps GIF? You mention 0.5 delay in relation to convert - is that 0.5 seconds per frame - which would indicate 240 frames to be selected from the video.

I just want to select enough to cover 2.5 minutes.  I have made these another way and they are epilepsy inducing but consistent enough to go back to the original minute in question.  As for the delay it is a bit confusing as that affects ticks per second and not frames per second.

Assuming you want a 30 fps 2.5m GIF, use
ffmpeg -i source.mp4 -vf "select='not(mod(n,trunc(234/2.5)))',palettegen" palette.png

and
ffmpeg -i source.mp4 -i palette.png -filter_complex "[0]select='not(mod(n,trunc(234/2.5)))',setpts=N/30/TB[v];[v][1]paletteuse" survey.gif


text:
How to create this effect?
In most of the official screen-recorded Adobe CC tutorials, they use a [bubble kinda popping up] effect as in the screenshot below.

Video link

How could I recreate this effect in Adobe Premiere or After Effects?
Is there a plugin or script involved in this?

It looks like the contents of the bubble is a zoomed in view of a video clip or a series of still frames.
The animation uses manually set keyframes to alter the position of the clip to create a pan effect. The cursor is also animated using manual keyframes. The acceleration of the pan is smoothed, probably with 'Easy Ease' transitions.
The video is then masked using an ellipse graphic with a shadow included, which can be easily be created in Illustrator.

It is possible to replicate the effect by taking a clip of a screen recording and tracking the motion of the mouse cursor to directly follow the action. This would be a lot easier to do (provided the cursor does not change and is always visible) but the results would be very rough.
The best way to replicate this effect would be to add manual keyframes as shown in the example video.


text:
Remove vertical jumps from captured VHS video
I was watching the following video on youtube, and as you can see, the whole frame just jumps up for single frames at random intervals, always to the same height. It seems to me that this would be fairly easy to correct in software, yet my attempts at searching only revealed expensive hardware solutions and claims that this is impossible.
It's easy to imagine a (tedious) workflow in which one manually marks affected frames and enters the vertical offset to shift those frames by, converting a jarring jump to a much-less-irritating flickering out at the top bit of the frame. With modern motion estimation algorithms (or even just detecting a black bar along the bottom of the frame), this process would be trivial to automate. Do such filters exist? Is this actually a common thing and I'm just using the wrong search terms?
I'm curious to watch these videos but I'd like to post-process them with something to make them watchable.


text:
Simple Video Content Recognition Software
I am looking for a tool that recognizes live action and graphics content in a video, and output the duration used of each style.
I am searching for something more automated than scene detection feature from video editing software or color grading.


text:
Encode a 10bit raw video file
I have a raw file that's in gray10le format. Each gray value is 2 bytes but only the first 10 bits are used. I can't seem to get x264-10b to accept it as an input.
x264-10b.exe --profile high10 --input-csp gray10le --input-depth 16 --fps 30 -o out.264 0_400x400_gray10le.yuv
raw [error]: unsupported colorspace `gray10le'
x264 [error]: could not open input file `0_400x400_gray10le.yuv'

I'm using the latest 10bit build at http://download.videolan.org/pub/videolan/x264/binaries/win64/

AFAICT, it should be --input-csp i400 --input-depth 10

Tried:
x264-10b.exe --profile high10 --fps 30 --demuxer raw --input-csp i400 --input-res 400x400 --input-depth 10 --frames 100 -o out1.264 0_400x400_i400.yuv
raw [error]: unsupported colorspace `i400'

Your binary is too old (June 2017).  Get the latest one. After Dec 2017, 8 and 10 bit support is present in the same binary.


text:
Is it possible to verify if mpeg dash video was correctly transcoded
I am transcoding some of my videos to mpeg-dash so I can use html5 players. But I am not able to play them on any player. It might be something wrong with my files.
These is a sample
https://d19cwas8lp55sz.cloudfront.net/archivos/1048/mpegDash/playlist.mpd
I tried playing it on this test player
https://bitmovin.com/demos/stream-test?format=dash&manifest=https://d19cwas8lp55sz.cloudfront.net/archivos/1048/mpegDash/playlist.mpd
I can see that the duration of the video is displayed correctly but I cannot play the video.
I was using amazon elastic transcoder to transcode this files

@Rob it should be an Avengers2 trailer

This is not an issue of the player, but it appears to be related to your Cloudfront setup and/or your S3 bucket, as it doesn't provide the required CORS configuration, therefore the player can't download your video/audio content.
You can check that yourself by opening the debug console of your browser (F12 on Windows, or CMD SHIFT I on Mac). In the console tab you will find error messages like that:
Access to XMLHttpRequest at 'https://d19cwas8lp55sz.cloudfront.net/archivos/1048/mpegDash/mpegDash4800k/3d3b437408996f42ed668f17cbe10408e0059e8914fcb12c775ad92d002cc88f' from origin 'https://bitmovin.com' has been blocked by CORS policy: Response to preflight request doesn't pass access control check: No 'Access-Control-Allow-Origin' header is present on the requested resource.

CORS is a security policy enforced by the browser in order to allow/deny XHR requests to resources which are hosted on a different domain than the site the request is coming from. XHR requests are commonly used by javascript applications web apps as well as HTML5 players to request your video content.
The decision of the browser, if it blocks this request or not, depends on additional headers which are returned by the server the XHR request is sent to (Cloudfront and/or your S3 bucket in this case). If the CORS configuration whitelists the domain the request is coming from, the browser will allow this request.

In your case this CORS configuration seems to be missing. Therefore, please see your S3 CORS settings:
S3 Bucket CORS configuration: https://docs.aws.amazon.com/AmazonS3/latest/user-guide/add-cors-configuration.html
This CORS configuration allows every origin to access your content
<?xml version="1.0" encoding="UTF-8"?>
<CORSConfiguration xmlns="http://s3.amazonaws.com/doc/2006-03-01/">
<CORSRule>
    <AllowedOrigin>*</AllowedOrigin>
    <AllowedMethod>GET</AllowedMethod>
    <MaxAgeSeconds>1800</MaxAgeSeconds>
    <AllowedHeader>*</AllowedHeader>
</CORSRule>
</CORSConfiguration>

This CORS configuration only allows bitmovin.com to access your content
<?xml version="1.0" encoding="UTF-8"?>
<CORSConfiguration xmlns="http://s3.amazonaws.com/doc/2006-03-01/">
<CORSRule>
    <AllowedOrigin>https://bitmovin.com</AllowedOrigin>
    <AllowedMethod>GET</AllowedMethod>
    <MaxAgeSeconds>1800</MaxAgeSeconds>
    <AllowedHeader>*</AllowedHeader>
</CORSRule>
</CORSConfiguration>

How to configure Cloudfront to respect CORS:
https://medium.com/@dmitter/amazon-cloudfront-and-cors-57dd43cdfd30
OR
https://docs.aws.amazon.com/AmazonCloudFront/latest/DeveloperGuide/header-caching.html#header-caching-web-cors
As soon as this is done, the playback at this demo page should work just fine. https://bitmovin.com/demos/stream-test?format=dash&manifest=https%3A%2F%2Fbitmovin-a.akamaihd.net%2Fcontent%2FMI201109210084_1%2Fmpds%2Ff08e80da-bf1d-4e3d-8899-f0f6155f6efa.mpd
I hope this is helpful and understandable :)

I checked that and I still had trouble with cors, I fixed my cors issue with range thanks to amazon support.  But I still cannot play my videos o videogular

Apparently I needed
<AllowedHeader>range</AllowedHeader>

For my cors problem to go away


text:
Looking for video software for analysing videos
I have a security camera on my car which is triggered by motion detection.
Each time it happens it records about 10 seconds in dual cameras which end up with two files A_[timestamp]for front, B_[timestamp] for rear view.
I want a suggestions for free/paid software which can do the following:

Open all videos of type A or B at once and linking them to one  timeline viewable video- please note I prefer not to create a new long video out of all, just to view them sequential with being able to adjust time more fast/slow in the timeline.
Being able to analyze video and tagging the sections which persons are recognized.

What do you mean by analyze? "Computer, zoom in and enhance" is a bit of TV/film artistic license still.

If what you're asking is how to edit multicam sequences, Adobe Premiere can do this very easily.

It's possible that this question is a duplicate of one of the questions below:
What Beginner Video Editing Software Should I Use?
Free video editing software

I use an editing software called Sony Vegas pro 13. It can handle as many video clips as I want. And it will give you the advantage of stitching the footage together, zooming in and also taking images from the footage.


text:
What makes the colours in UHD demo footage so vibrant?
Whatever display you watch 4k and 8k demo footage on (I'm watching it in 1080p), the colours are so much more vibrant and engaging than 4k footage shot on phones, filmed for and shown on broadcast TV, and often films too. (See this and this)
Why is this and what would I need to capture similarly colourful content? I'm aware that you can fake it in post-processing, is that all that's been done here?

Welcome! It is a little unclear from how you worded your question, but are you asking why do colors look more vibrant on material shot for broadcast or cinema than they do when shot on a phone?

Thanks @MichaelLiebman! I think those demo videos have colours that are a lot brighter and bolder than similar footage shot at the same resolution (4k), which can be shot on phones, and footage shot on APS-C sized sensors. My question really comes down to what tech enables you to capture colourful footage?

@SamW to put the thing in a simple way. Probably the footage was done in raw then edited and graded in a professional way. It isn't a footage just took out of a phone camera.

To expand on that, it isn't just one technology, it is several including the quality of the sensor, the lenses, and the on-board processing. But it is more than just the technology, it is also the skill and artistry of everyone who touches the footage from cinematographer to colorist to editor.


text:
If I use a normal build of ffmpeg how take advantage of video acceleration for scale?
I generally use ffmpeg for encode in h264 and also resize media
My common command is something like:
ffmpeg -i in.mov -c:v libx264 -preset ultrafast -b:v 5000k -s:v 1280x720 out.mov

I have an Nvidia GeForce 1060 card.
I also use the Zeranoe Builds or various generated with the crosscompile scripts (but i'm not very pro with it)
What i would like to know is:
1) It is possible to SCALE for example from 4k or FHD (1080p) to HD (720p) by taking advantage of GPU acceleration instead of using the normal SCALE ? It is possible also to specify if use bicubic, bilinear and so on?
2) It is possible to encode in h264 faster by taking advantage of GPU acceleration ?
And what syntax/options to specify in ffmpeg to do so.
Thanks in advance.

The answer to your second question is yes. Change -c:v libx264 to -c:v h264_nvenc.  I use those builds as well.  If you use the option -encoders you can see a list of included video and audio codecs.
This is a good resource for encoding with FFMPEG.
See the warning on this question if you try this


text:
FFMpeg set language as Unknown or unspecified in a QuickTime MOV
I have to transcode with FFMpeg some video with multiple audio where various audio track are not language related, just music and so on.
I would like to assing as language something like Unspecified, Unknown, Not Applicable, Multilanguage, or so on.
Everything that is not a specific named language (English, French, Spanish, ...) works fine for me .
ffmpeg -i in.mov -map 0:a -metadata:s:a:0 language="und" -metadata:s:a:0 title="Just Music" out.mov

For what I researched FFMPeg uses the ISO 639-2 codes:
https://en.wikipedia.org/wiki/List_of_ISO_639-2_codes
In my example I tried to use the und that stands for Undetermined..
In the wikipedia list there are also other possible interesting options:
The standard includes some codes for special situations:

    mis, for "uncoded languages";
    mul, for "multiple languages";
    qaa-qtz, a range reserved for local use.
    und, for "undetermined";
    zxx, for "no linguistic content, not applicable";

Non of them seems to work, everytime I try to set that values with ffmpeg it just assume "English".
Following the Apple Documentation for Moov Format we have:
https://developer.apple.com/library/archive/documentation/QuickTime/QTFF/QTFFChap4/qtff4.html#//apple_ref/doc/uid/TP40000939-CH206-34353
A very small list compared to the Wikipedia one but there's at least a Unspecified 32767
I tried with -metadata:s:a:0 language="und" or -metadata:s:a:0 language="32767" but is not working the same :(
So I tried to read the source code of ffmpeg, at ffmpeg/libavformat/isom.c line 382:
/* map numeric codes from mdhd atom to ISO 639 */
/* cf. QTFileFormat.pdf p253, qtff.pdf p205 */
/* http://developer.apple.com/documentation/mac/Text/Text-368.html */
/* deprecated by putting the code as 3*5 bits ASCII */
static const char mov_mdhd_language_map[][4] = {
    /* 0-9 */
    "eng", "fra", "ger", "ita", "dut", "sve", "spa", "dan", "por", "nor",
    "heb", "jpn", "ara", "fin", "gre", "ice", "mlt", "tur", "hr "/*scr*/, "chi"/*ace?*/,
    "urd", "hin", "tha", "kor", "lit", "pol", "hun", "est", "lav",    "",
    "fo ",    "", "rus", "chi",    "", "iri", "alb", "ron", "ces", "slk",
    "slv", "yid", "sr ", "mac", "bul", "ukr", "bel", "uzb", "kaz", "aze",
    /*?*/
    "aze", "arm", "geo", "mol", "kir", "tgk", "tuk", "mon",    "", "pus",
    "kur", "kas", "snd", "tib", "nep", "san", "mar", "ben", "asm", "guj",
    "pa ", "ori", "mal", "kan", "tam", "tel",    "", "bur", "khm", "lao",
    /*                   roman? arabic? */
    "vie", "ind", "tgl", "may", "may", "amh", "tir", "orm", "som", "swa",
    /*==rundi?*/
       "", "run",    "", "mlg", "epo",    "",    "",    "",    "",    "",
    /* 100 */
       "",    "",    "",    "",    "",    "",    "",    "",    "",    "",
       "",    "",    "",    "",    "",    "",    "",    "",    "",    "",
       "",    "",    "",    "",    "",    "",    "",    "", "wel", "baq",
    "cat", "lat", "que", "grn", "aym", "tat", "uig", "dzo", "jav"
};

int ff_mov_iso639_to_lang(const char lang[4], int mp4)
{
    int i, code = 0;

    /* old way, only for QT? */
    for (i = 0; lang[0] && !mp4 && i < FF_ARRAY_ELEMS(mov_mdhd_language_map); i++) {
        if (!strcmp(lang, mov_mdhd_language_map[i]))
            return i;
    }
    /* XXX:can we do that in mov too? */
    if (!mp4)
        return -1;
    /* handle undefined as such */
    if (lang[0] == '\0')
        lang = "und";
    /* 5 bits ASCII */
    for (i = 0; i < 3; i++) {
        uint8_t c = lang[i];
        c -= 0x60;
        if (c > 0x1f)
            return -1;
        code <<= 5;
        code |= c;
    }
    return code;
}

They talk of "und" inside the code, but if you use -metadata:s:a:0 language="und" it just return English.. :\
What is the correct way to specify it? It could be a ffmpeg bug? I'm using the last zeranoe nightly build N-92405-ge24a754916

At the time the code was written, the ref the devconsulted did not list a value for und so it's not accepted. Will patch it soon.

@Gyan So the ffmpeg should be updated? Thanks :)
Isn't it possible to add also mis, mul and zxx languages as wikipedia suggest?
Would be cool also an "int" for International.. it would make very sense for some kind of tracks like international tracks (eg. Music and Effects)

Ok, will look into it.

-map 0:v \
-map 0:1 -metadata:s:a:0 language=zxx \
-map 0:2 -metadata:s:a:1 language=eng \
-map 0:3 -metadata:s:a:2 language=fra \
-map 0:4 -metadata:s:a:3 language=kin

The original poster asked how to add an 'Undefined language', not english, french, etc.