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

This really looks like something that's outside the realm of the video production scope of this website.  What's inside the scope of this website includes: how you scouted and selected great locations, props, and wardrobe for your shots, how you set up the lighting, prepared your actors, managed your crew for your video clips, good microphone and sound design techniques, how you selected, edited, and graded your video clips, etc.  You have a problem with Keynote, which really isn't a video production platform.

With all due respect, if it exports video, it's producing video, so questions concerning those functions of Keynote are on-topic even if their relevance or interest to most of the audience here is low.

To the OP, can you just load the Keynote video in a video editor and then note down the slide turnover times? You can then use those times to split the video using ffmpeg in a single command.

@MichaelTiemann I am producing video, using Keynote as a tool.

@Mulvya that's seems possible at first, but there are 2 problems. First to note the slide turnover times would be manual. Second, when ffmpeg split the video, the key frame is never in the beginning, so the video starts black until the first keyframe is reached. If I ask ffmpeg to follow keyframes, it simply ignores the exact timing of the cuts and waits for the next keyframe.

My reasoning here to use keynote is simply that it is far more easier to add a logo and subtitles and keeping it consistent through videos than other video producing tool. That's why I haven't used Final cut or Premiere to create the videos, I tried, but spent triple time for each video.

And, if I change master slide, I change all slides at once. Easier to batch edit.

You'll have to re-encode the video, so the cuts will be exact.

How is this problem not solved by "playing" keynote while doing a screen capture?

@MichaelTiemann Manually capturing each slide? I want to do it automatically. Manually there are many different solutions: exporting each slide separately, for example.

I thought you said the timing of the transitions was somehow important. Now I don't think I understand at all how keynote, in this case, is being used for video production.

Your question is not really clear, but there is an option to export a keynote presentation as a .m4v file. If you then want to add more wait time in between the slides, you can add freeze frames in FCPX or Adobe Premeire.

Have you considered using a screen recorder to grab the whole presentation? Then you could import the final output into the video editor.

This answer was suggested in my second comment (see below), but the OP rejected it (for reasons I still don't understand).

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


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Same exposure settings on 2 different DLSRs (Canon SL1 and 70d) created differently exposed image?
I recently purchased a Canon SL1 as a second camera to my Canon 70d. Today I had my first shoot, and I noticed something weird with the exposure. Both of my cameras were set to 1080 24fps, 50 shutter speed, 2.8 aperture, and ISO 200. However, the Canon Sl1 was underexposed. To create the same exposure as the Canon 70d, I needed to bump the SL1's ISO to 400. Shouldn't camera's with the same settings reproduce a similarly exposed image?
Thanks!
-Wes

What lenses did you use? Was it the same lens on both cameras?

Simple answer is No.
Now to be a little more technical. It is all down to build, sensor type, style, size etc and of course the camera being stuff like, consumer, semi-pro, professional etc.
A little more.
Cameras like the SL1 which would be classed as consumer would not have the same build or sensor quality as a professional or possibly semi-pro same goes for sensor sizes etc.
I have a Canon 7D and a Canon 100D both of which I can use but I have to expose slightly differently on the 100D due to it being a lesser quality camera, even though it has basically the same sensor and specs (which is why I bought it). Most things you can correct it in post as long as I've thought about a little bits before hand.
This would also be the same for the built in colour profiles in the camera. Which  is why a lot of people start to build there own or put on preset ones like cinestyle.

Added: using different lenses can make a difference as well, trying to stick with the same brand can help but thinking about costs etc, I use different makes and brands but I have used them all and know what each one will look like after so I can compensate for it

While in theory you are correct, the 100D (SL1) and the 70D are very similar. They use essentially the same sensor, have identical resolutions and MP and so on. They are also both entry- to prosumer-oriented cameras (even though the 100D is marketed more as an entry-level camera and the 70D as a prosumer-level one, no idea why). So I think it's more likely that the cause are different lenses, as f-stops are no absolute measurements and a difference in lenses means there will be a difference in exposure.

source: Stack Exchange

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

sort: votes


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How to make an effect last for only a certain amount of time
I feel like I've done 50 google searches now, and still haven't figured this out. I am new to after effects, and have been unable to make my effects last for a certain amount of the timeline.
For example:

I want the effect to start, and then stop a while later on the
  timeline.

I've pressed every button and done every google search to try and figure that out. I've also done every stack exchange search.

How can I do this?

The correct way to do this is to animate the effect. Whatever effect values you are altering, those need to be set to zero or null result value 1 frame before your intended start time. In the next frame set it to the desired value for the effect. Set a key for the desired value at the last frame of your intended range. Then set a key for the zero/null value the next frame.
The crude way to do this is to split the layer at the start frame and end frame Ctrl+Shift+D. And remove/disable the effect on the layers outside the effect range.

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


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Video format to play on Samsung HMX-F90
I have video files recorded on an unknown digital camera, that I need to play through a Samsung HMX-F90 digital camcorder. When I copy to files to the memory card, they do not appear on the camera. I have converted the video files to H.264 encoding and the resolution matches those recorded by the F90 camera. Any other suggestions?

I have video files recorded on an unknown digital camera, that I need to play through a Samsung HMX-F90 digital camcorder

... why? Can't you view the files on a computer?
Copying your older files to a camcorder to view them is a very strange idea and it will most likely not work, because camcorders aren't built to do that. A camcorder (or really, any digital camera) is not like a computer that reads a card, shows you all folders and files and allows you to watch them. Most cameras have a standard path where they store their files that can't be changed. Many cameras also create accompanying files that hold metadata and the camera uses those to create the file overview in their media browser. If those files are deleted (or don't exist in the first place), the camera might not know that the files are present at all. Also, the camera will most likely only be able to read files that use exactly the same format and codec (and maybe other things, like certain metadata tags), so even if you converted your files they probably wouldn't match the output format of the camera.

I have converted the video files to H.264 encoding and the resolution matches those recorded by the F90 camera.

That is also a bad idea, as reencoding the files will reduce their quality and is totally unnecessary just to view the files.
tl;dr: Use the appropriate tool for the appropriate task. I.e. use a camera to record videos, and use a computer to watch them.

Edit: How to do it the hard way
If for some reason you absolutely have to do it in this convoluted way, you will have to find out how the camera records and stores videos on the memory cards. Three steps/considerations for you to make your camera recognise your videos:

Correct location. All cameras store videos in a specific directory on the memory card. For example, my Canon EOS 80D stores all photos on /DCIM/100CANON/ (it creates multiple folders with incremential numbers if necessary). Your camera might allow you to change this directory (or at least define a subdirectory) in the settings. This will also allow you to find out what the default directory is. If there is no such setting in the menu, check your camera's manual for that info.
Correct format & codec. If you have put your files in the correct folder and the camera doesn't show them, they might be in a format that the camera doesn't recognise. You said you converted your videos to H.264, but have you used the correct container format and audio codec as well? (More information on that in my answer here.) I suggest you record a test video with the camera and check it's metadata and file parameters using MediaInfo, then use that info to convert your video files to exactly the same format with the same parameters the camera uses. Also, note the naming pattern of the file created by the camera and rename your files following that pattern.
Keep in mind that converting your videos will likely degrade the video quality. This won't make much of a difference on a tiny camcorder screen, but do remember to backup your original files.
Cataloging files. Some cameras create catalog files alongside the actual video files that are used for the internal media catalog of the camera. If it isn't present or doesn't contain information on the videos you copied to the memory card, the camera might not be able to display them. For example, my 80D creates a .CTG file in /DCIM/EOSMISC/ for every set of images shot with the camera. However, there are also cameras that use one sidecar file per video file that may fulfil the same function. After you've recorded a test video with the camera, search the memory card for such a file and open it in a texteditor. If you are lucky, it's a plaintext file that uses a reproducible pattern that you can use to manually create the necessary files/entries for your own videos. If not, you're pretty much out of luck. You can try to look for some technical documentation on how the internal camcorder catalog works, but I doubt you would find any or that it would be any use for your situation.

Thanks for the feedback, but this does not help. I do need to play the video through the camera (long story, not relevant to the problem).

@adjfay Fair enough, I added a section on how you could try to make this work. Lot of if's and may's in there, because reverse engineering a camera media catalog is not something you would usually do. I'd be very interested in hearing how on earth you ended up in the situation where you have to playback some old videos through a camcorder ...


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Why you need hardware (e.g. capture card) for video input?
To fully understand the how it works: you pick any device with HDMI output (let's say GoPro to reduce the variations) and you'll need a capture card for retreaving the data as multimedia signal. Please correct me where I'm wrong:

a digital signal is coming from the GoPro, why can't you process that signal completely trough software? What's the hardware for?
is the hardware purely for transcoding (and providing an input connector) or there is something else that I'm missing?

EVERY place the computer CPU connects to the rest of the world requires an interface (hardware and software) of some kind. There is a very complex interface to get the data out of the computer and on to the screen where you are reading these words. And another interface to capture the key-strokes and convert them into characters entering the computer. And another interface for the speakers and for the microphone, and for the mouse, and for the WiFi and for the Ethernet and for the hard drive, etc. etc. etc.
So it should be no surprise that it takes some kind of interface to get the digital video stream of ones and zeros and gets them into the computer, also.  Back years ago, the screen interface was a separate card, and the audio (speaker and microphone) was a separate card. And the USB to the mouse and keyboard was a separate card. But modern computers have integrated all of those INTO the computer which apparently makes you think that they don't exist.
But those interfaces are all required to get things in and out of the computer, and video is just another kind of signal that needs an interface (both hardware and software).  But since most people don't need to ingest video, few (if any?) computers include a video input interface, so you must use a separate (internal or external) gadget to import video into your computer.
Yes, the hardware is to provide a place to plug in the video signal, but there is a requirement for software also. To "bundle" the video data into a form that the operating system and the video application can understand.

Thank you @Richard for the comprehensive description, we are looking for a much deeper, more exact answer. We're building livestream apps and working with hardware and SDKs. We are looking for a very deep understanding of the issue. Some hardvare can be replaced by software but would need too much resource, sometimes a specific chip is handling a specific task that would be way more complicated via software. Sometimes software is not enough. This is what we're looking for, a deep understanding of what we shouldn't even try because "....".

E.g. transcoding, done by hardvare, can be done purely by software unless you need optimization. Did anyone succeed with capturing the stream with only the input as hardware and the rest is software?

If you are creating software which takes a video stream as input then you have two major options:

Design your own hardware and software from scratch, standalone and make/keep it compatible with your choice of platforms Windows/Mac/Linux.  This is a MAJOR challenge and from the tone of your questions you don't have the resources for this. You would have to hire/contract a hardware/software developer.  Expect to pay a premium price for a project of this sophistication.
Use the built-in API functions from Win/Mac/Linux for video input and output. Let the operating system take care of the driver/hardware interface and use hardware which is readily available to your customers. This is the only reasonable option, IMHO.

I know of NO computer of any type with built-in video (SDI or HDMI) input. So you have no option but to use some kind of layered hardware, either an internal PCIe card (eg: BLackmagic DeckLink) or an external converter box which connects to the compupter via USB3 or Thunderbolt or USB-C.  (eg: Blackmagic Intensity)  There are many vendors of these hardware products, both internal and external. I am using the Blackmagic products only as an example of what I am talking about.

Yes, exactly this is what we're doing and that's why I must know if besides providing the input (and optional transcoding) there is something that has to be present in such hardware/software combo, need very deep understanding of this matter. At the moment, we can work fine with Blackmagic and it's SDK but still no luck with Elgato. Someone here may know more and that's the info I am hoping to find.

If you are having problems with Elgato SDK, then that is what you should have asked.  The question you asked implied that you didn't even know what a video interface was for. So this has essentially been a waste of everyone's time. Please ask proper questions.


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Join multiple M4V to one file (maybe MKV?)
So I've recorded all my old Mini DV tapes to .AVI with dvgrab, then Deinterlaced them with Handbrake (Bob Method) on the High Profile but I'm left with a bunch of M4V files now (due to the 2 audio tracks).
I want to make one file out of each tape now and, if possible, also preserve the timestamps in the filename. I have no idea how to join them now tho since making an MKV out of them would result in the player acting up (VLC, MPC and WMP all bring different results when playing the MKV file for some reason).
What's the best way to get the deinterlaced M4V files into one file for each tape now? Or do you guys have some other methods for this while still deinterlacing the original footage from 50i to 50p?

Hi, what system would you be running? Mac, Windows, Linux?

Windows, if possible. If no other option is available than Linux or Mac I could use those too of course.

The answer below is in regards to Mac, Linux and Windows

If you have ffmpeg installed, see this article that basically says to create a file that has all of the names, or to use the following command
  Concat Protocol
ffmpeg -i 'concat:input1|input2' -codec copy output

Or
 Concat Video Filter
ffmpeg -i opening.mkv -i episode.mkv -i ending.mkv \
 -filter_complex '[0:0] [0:1] [1:0] [1:1] [2:0] [2:1] concat=n=3:v=1:a=1 [v] [a]' \
-map '[v]' -map '[a]' output.mkv

Or
Concat Demuxer
$ cat mylist.txt
file '/path/to/file1'
file '/path/to/file2'
file '/path/to/file3'

$ ffmpeg -f concat -i mylist.txt -c copy output

Which one to use
concat protocol: use with formats that support file level concatenation (MPEG-1, MPEG-2 PS, DV).
concat filter: use if you need to re-encode such as when applying filters.
concat demuxer: use when you want to avoid a re-encode and your format does not support file level concatenation.
If in doubt try the concat demuxer.
When in Doubt, choose Demuxer
This article was originally published here
Also, see http://ffmpeg.org/faq.html#How-can-I-join-video-files_003f

how would I the concat demuxer to add the same outro video file to 100's of videos?

See How to bulk add outro with ffmpeg and ffmpeg concat video and audio out of sync Both of which can be integrated.

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


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How to programmatically personalize video?
this article shows an impressive implementation of how to programmatically personalize video.

"Everybody received their ‘own’ version of the video."

How would I realize a similar solution? Which programming language would I use, which libraries, services are available to achieve a similar application on a web server?
Curious to see you answers!

You can use ffmpeg to do something like this programmatically. It has the capability to composite and edit footage as well as adding effects and text. It is a command line app, so works in the shell of your choice on Linux/Mac/Windows. Youtube reputedly uses ffmpeg to process their videos, so it's safe to say that it's very widely adopted. FFMPEG is free and open source. This is probably your best bet.
Adobe After Effects can also be controlled completely programmatically using the Extendscript language. After Effects is an industry standard video effects tool, used for everything from web banners to Hollywood movies. While it has more capabilities than ffmpeg, it is mainly designed as a GUI application, and the API really needs a good understanding of the application to use, meaning that developers are probably fairly hard to find. It is available from Adobe through Creative Cloud membership.
Coding the solution is another option. Rather than re-invent the wheel you could look at one of the frameworks that exist for creative coding. One of the most popular is Processing; it's a programming language designed for creative use, based on Java. Although not specifically focussed on video it does have the capability to process video, and could add text and effects to video content. Similar tools exist for other languages, for example OpenFrameworks, which uses C++, and Nannou, a relative newcomer which uses rust. To use them you will need programming skills, but a lot of the heavy lifting has been done in terms of things like graphics and video, meaning you can work at a higher level.

I would have suggested ffmpeg but the linked video has man places where the name is stylized and has effects/perspective/blending modes applied. Would be a real chore to do it with ffmpeg.

True. But probably do-able.


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How do I use Resolve to permanently extract and save small clips from mov files/
I have hundreds of GBs of movs that I want to get rid of most of the video from each on and then do some editing.
What would be the workflow using Resolve?
Export as?  or Transcode as?
Thanks

You can do it right in QuickTime.

Open the videos in QuickTime
Edit > Trim
Save or Export those shorter clips
Import them into your preferred editor

If you do want to use Resolve:

Import your clips to your Media Pool
Click on the Edit tab, select all of your clips in the media pool, drag them to your timeline.  The order of them doesn't matter, if you just want individual clips, neither does having gaps in your timeline.
Once you have trimmed your clips as desired, go to the Deliver tab
Make sure to select Individual Clips at the top and adjust your settings as desired
Select your entire timeline and then add the job to your render queue
Render

I installed Quicktime on my Windows 10 computer but it looks like the edit functions are only available on the Pro version. Not sure if Windows 10 runs that, does Windows 10 have any edit feature?
In Resolve I don't have any Apple codec options so I tried H.264 and the file size ends up quadruple the original.

The render format, codec, settings, etc. you use will all depend on what you intend to do with these videos and your own personal preferences.  Generally speaking, h.264 is a decent tradeoff between bandwidth/quality, but I wouldn't suggest using it for videos that you still plan to edit and work with. @RichardLewandowski


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Media Player for playback of 1000 fps video at 24 fps
I have searched everywhere, and I could not find any media player (for Windows) capable of playing back 1000fps video at 24fps.  Can anyone suggest software?  I'm not willing to any greater price than free.  I tried Windows Media player and VLC media player.  VLC can get close, but not quite 24fps.  It must be able to play back the video at between 22 and 26 fps as well as normal speed. I know professional high-speed playback software exists, I just can't find it.  An alternative solution would be to suggest software that can convert video to play back at 24 fps.  A third alternative: is it possible to modify the binary data in a file to change the playback rate?

You can use the free command-line tool ffplay, which is part of the ffmpeg project.
ffplay in.mp4 -vf setpts=N/24/TB,fps=24

You can change the value 24 above to any arbitrary value. Just remember to change both instances in concert.


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Best workflow for working with mattes in After Effects
I love working with alpha / luma mattes in After Effects.

Creating that kind of composition should be a piece of cake, but it is incredibly difficult because there is no real good way to work with mattes in After Effects (CS6 here); while it's one of the most important feature in a compositing software.
I would be glad to know how you work with them and what workarounds you know.
Track mattes
Track mattes is the best way to work with mattes; but what if you need to use the same matte on several layers ?

You end up duplicating your matte, which multiplies the number of layers in your composition, and is a good way to bring problems since you have to keep your layers "synced" : if you have animation keys on a layer matte, you'll need to copy/paste them on the cloned layer every time you change something, unless you parent them or use complex expressions to do the job for you, which bring other problems.

Set Matte plugins
The Set Matte (native) plugin is really cool about this; since it allows you to use a unique layer as matte anywhere in your comp.

There is also the bs-Smart Set Matte plugin (from BS_CompositingBundle 2), which has some advanced options: you'll be able to stack several mattes and to choose how they are composited, which is really, really nice; and to select the mode to use for the matte (alpha, luminance, lightness, etc); among other options, but you'll have to pay for it (~30$).

But the problems with both plugins are that :

If the matte / matted layer geometry (scale, position, etc) differs or are animated, the plugins will fail to keep them "synced" and you'll get weird offsets.  You could eventually parent them, but that brings other problems (what if I want to rotate my matte layer ?  The matted layer will rotate too :/ )

If you copy a layer which has a set matte effect on it, the Take Matte From Layer value is lost when pasting the layer, which is really annoying since you'll quickly won't remember where which layer is used as matte.
If you use a layer (matte) that already have a set matte effect on it AS matte for another layer (matted); matted will be matted with matte WITHOUT considering the set matte effects applyed on matte.
bs-Smart Set Matte responds poorly when applyed on text layers.

Well, my head hurts.
I'm sure I'm not the only person facing those problems.
What I would dream of is a set matte effect which would have advanced options as bs-Smart Set Matte has, and above all an ignore transformations option, avoiding the offsets issue described above.
Any hints ?

I don't have any help to offer, but I just wanted to say thank you for posting this question. This is exactly the sort of question that belongs here and gets the site out of just being the ffmpeg support forum.

You know about Stencil / Silhouette Alpha mode, right? That applies the matte to all the layers below it. Also, keeping animated properties in synch is super easy with expressions. Just alt-click the stopwatch and drag the expressions pick-whip (like the parenting pick-whip) to the property you want to synch to and you're done. Too easy!

Sure stib.  But it forces you to do a lot of precomps as all the layers (eg. a background) below will be hidden, which is not handy.  It would be great if you could use "folders" in the timeline, as Flash does... :/

@gordie If folders on the timeline were a feature, it would make this incredibly easy. Imagine being able to Stencil Alpha inside of a folder and only affect a select number of layers, ignoring the ones below the folder. A person can dream :)


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pause video with overlay ffmpeg
I'd like to overlay a png onto a video at a certain timestamp and have the video pause (loop) on that frame for X seconds with the overlay.  What would be the best method to accomplish this?

Let's call the video frame rate F. And the start time of the overlay t
Use
ffmpeg -i in.mp4 -i ol.png -filter_complex
         "[0]trim=0:t,loop=X*F:1:t*F,setpts=N/FRAME_RATE/TB[fol];
          [0]trim=t,setpts=N/FRAME_RATE/TB[post]
          [fol][1]overlay[pre];[pre][post]concat" out.mp4

The loop filter accepts frame index numbers, so you have to convert your start time and loop time to frame counts and substitute with those values.


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Where can I find good free quality VFX effects stock library?
I'm having fun with HitFilm software and playing with my kids to make movies. I'd like to add some VFX to our creations. Where can I find a good bunch of stock video and audio effects?
Usually our movies are Full HD resolution.

I've just found this nice Video & Filmmaker Magazine list of free stuff.
Some of them:

Chroma Key Backgrounds
Cute Stock Footage
LightLeakLove

https://www.actionvfx.com/collections/free-vfx/category
https://www.productioncrate.com/
These are the best free ressources I found, especially the ones from ActionVFX

if you are looking for free VFX you might want to check out
https://nomadnationstore.com/
They offer a monthly growing library for free VFX Assets in HD and 4K
No registration or whatever needed. Just download and have fun.


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How to set up a Livestream from SJ4000 Wifi?
I own a SJ4000 action cam with WIFI function. The latter allows it to connect the camera to my phone.
I would like to livestream a sports event. Is it somehow possible to stream the video from my phone? If it is easier to set up with a laptop, this would also be an option.
Thank you for your help!

This link may be useful, it explains accessing SJCAM RTSP stream: http://how-i-did-that.blogspot.com/2014/11/reverse-engineering-sjcam4000-wifi-kind.html

You have two choices...

The wireless way:
SJ4000 WiFi has a built-in RTSP streaming server, supporting one client at a time with a limited resolution at 640x360.
This can be viewed locally by connecting your phone or laptop to the camera's access point, start a RTSP+H.264-capable media player (e.g. VLC Media Player), and instruct it to open following URL:
rtsp://192.168.1.254/sjcam.mov

However, if you would like to allow multiple people to watch the stream, you would need to install a live streaming software (that supports RTSP video source) on your phone or laptop.

VLC Media Player (at least the desktop version) can do a self-hosted live streaming in this scenario, but is awkward to set up.
Open Broadcaster Studio is known to support this configuration as well as broadcasting into services like YouTube, Twitch, or Dailymotion.

The wired way:
SJ4000 WiFi is capable of acting as a USB webcam with HD-ready 1280x720 resolution.
Once the camera's USB port is connected to laptop or OTG-capable Android phone, choose "PCCamera" mode on camera's screen; and you can view the stream locally with any webcam application.
As you are going to re-broadcast the stream, any live streaming software should work (anything ranging from Google Hangouts, LINE, Facebook Live, Youtube app, to specialized ones like Open Broadcaster mentioned above).

Caveat:
As far as I have tested with my firmware version, the camera does not provide audio streaming in both RTSP and USB webcam mode. Since you are broadcasting sport event, you would have to insert live audio on-field in the live streaming software (optionally, with proper A/V delay compensation). Which in this case, the wired way is recommended, as there are more choices on software you can use.
If you are not particularly picky with the 0.6+ sec A/V desync, using wired mode with video chat applications mentioned above should suffice; they will pick audio from laptop/phone's microphone. However, if you need A/V delay compensation, use Open Broadcaster Studio or other specialized live streaming software of similar ability instead.
Hope this helps.

You can also use OBS Studio as an alternative, just follow this guide.

After lots of unsuccessful attempts to connect different players on my laptop to rtsp://192.168.1.254/sjcam.mov I decided to make a bit of debugging with a packet sniffer to find out what occurs when SJCAM Zone Android app talks to the camera.
As a result I discovered that in the case of my camera the correct URL for VLC stream player is:
http://192.168.1.254:8192.
Seems that it's using a technique called HLS (HTTP Live Streaming).
My SJCam4000 Wifi is v1.7.


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How to create a fireball effect with After Effects?
I'm working on this video, football theme. i was wondering how I can give the ball a simulation of a comet or a cannon ball?
For example when a player makes a strong shot i want it to look as if it was shot from a cannon or sth with fire effects. is there a tutorial for this?
Appreciate your help! Thank you

Have you tried getting stock footage of a fireball and compositing that with the actual ball? You could track the motion of the original ball and apply that to the footage.

I know this question is a little old, but someone else might stumble across it.
I have had great success using the VideoCopilot Saber Plugin for all kinds of effects including fire and fireballs. It's free and there are some great tutorials to get you started.

You might want to check out a class of effects known as "particle generators."
Trapcode Particular is a nice 3rd party option, but costs a bit of money.
AE has some built-in particle generator effects, too. Check out CC Particle World, CC Particle Systems II, and Particle Playground.
This tutorial here covers using CC Particle World to create fire. You could adapt that example to make a fireball instead of a wall of fire.
Particle Generator effects often have an source position property that you would need to match to the position of the football. This could be done with motion tracking, or simply keyframe it 'by hand' if the ball throw segment is fast enough.
Note that CC Particle World and CC Particle Systems II are very similar, but the first is a 3D effect while the second is a 2D effect. For shots where the ball goes from closeup to far away, the 3D variant would be helpful, but otherwise you might be able to get away with the simpler 2D variant.


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How to import many .MOV files to Sony Vegas?
I have a problem with Sony Vegas. When ever I import too many .MOV files, Sony Vegas Pro 13, doesn't accept them, so they are black in the preview screen.
However, if I import only 4 or 5 .MOV files to Vegs, it accepts them and I can see the clips in the preview screen. But when I go over that limit of 4 or 5, Sony Vegas doesn't accept the .MOV files, and now all of the clips are black in preview.
How do I make it so that I can import as many .MOV files as I want to SonyVegas.
I have Quicktime installed and also unchecked the option in preferences>video that says something like close media when other apps are open.

This is a known problem. Quicktime for Windows is 32-bit only, and that presents a memory ceiling for the QT handler/decoder. What's worked for me, including in a current project, where I'm working with hundreds of of 5D MkIII files, is to import in batches. Once done, I have no issues loading or working with the project even if many of those are used on the timeline. I should say that often I'm able to import many clips without needing to divide the import step into batches.
As suggested in the linked forum thread, try rolling back to QT 7.6.2 or Quicktime Alternative, and see if that provides a more permanent solution.

What do you mean by batches? Does it mean to combining several .MOV clips together and then importing? If it does mean that, how do you combines several clips together?

Importing a few clips. Saving project. Exiting Vegas.Opening project. Importing a few more..etc


text:
Wrong colours after exporting to MP4 using H.264 Codec
in my current project I am working in an sRGB colour space (32bpc) with the option "linearize workflow" enabled.
My composition looks fine in after effects, but after exporting to mp4 using H.264 Codec, the colours don't look the same, especially the very lights one.

the image above shows the difference. On the left hand side you see the colours after export and on the right hand side is how the colours look in after effects.
What am I missing here?

Sounds like either AE did not gamma transform the output or flagged the output incorrectly.

@Mulvya My workarround for now was to export as a Quicktime Movie (also using H.264) and than convert it to mp4.


text:
How would I silhouette someone's face?
I am not sure that a silhouette is the best word. I am doing a cinematic scene in which the "Mystery character" is sitting in a chair, and I want his face to look blacked out/"silhouetted" so you can't see his facial features.
I do have adobe After Effects, in case I can do it in the editing process.

What are you talking about? Animation? Is this something you will film with an actor or have filmed already? In the latter case, can you post a screenshot of what your scene looks like? In case you want advice on how to film this, can you give an example of what you want your scene to look like? (A screenshot from another movie or something similar)

A silhouette is often created by having a person with zero lighting on him/her, positioned in front of a brightly-lit background.  However, you'd need to do camera tests to confirm that the contrast is high enough so you don't see the person's face.
You can emphasize this in Adobe After Effects by creating an oval (face-shaped) mask that is black and partially/mostly opaque, with fuzzy edges.  Position this over the mystery person's face and animate it to follow their movements.
There are many other options for hiding a mystery person's face.

Have the person's back to the camera.
Only shoot the person from the shoulders down, so their face is not in the shot.
Only show the shadow of the person's face, on a flat surface that is lightly colored (white, yellow, etc.).
Similar to the previous idea, the mystery person could be behind a white sheet, with a bright light even farther behind the person, so a silhouette of the person appears on the white sheet. Make sure to reduce or eliminate light on the same side of the sheet as the camera; if there's too much, the shadow will be washed out.
Position the person behind a sheet of shower glass or something similar so they are visible but indistinguishable.
Just put a bag over their head.


text:
What is the best tool for creating simple iOS demo videos
I need to create some simple video tutorials for an iOS app. The tutorials will consist largely of screen footage showing the app being used with voice over and some titles. I know how to capture the video from the iPhone (Apple has made that easy). I'm looking for the best simple tool for editing the video, putting in some titles, and adding the voice over.
The original iMove would have been great for this. Unfortunately that product no longer exists; it was replaced with something designed to package vacation & birthday party video with theme overlays and all sorts of automatic stuff I don't want and can't use.
I will be working on a MacBook Air with 8GB of RAM. I could buy Final Cut Pro and would probably be comfortable with the model it presents, but I recognize it is way way overkill for what I need to do.

Possibly http://alternativeto.net/software/avidemux/

If you haven't used iMovie in a few years, I recommend you give it a try. It does exactly what you're looking for. If you create a new movie rather than a trailer, it will just create a timeline that you can drop footage into. On the left, under your events and library is a section called "Titles" that has dozens of titles ranging from tasteful to playful. You use the "V" key to record a voiceover.
FCPX is also a great easy tool to learn. In fact, iMovie is now made so that you can transition easily from using iMovie into using Final Cut Pro X. I think they might even share some of their internal bits. In any event, if you use one, you can probably do some stuff easily in the other.

Thanks, I've done this and you're right. There are a few awkward things, but generally it's working very well.


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Help with shooting steady
I need help with learning how to shoot videos for real estate. My first problem is that I am not strong enough to manage the camera without it shaking or picking up my walking movements. I purchased the Glidecam Smooth shooter and I still can't get videos that are smooth. (ok, so I am a weakling). So that's my first problem... the 2nd is that I need to know from everyone else their suggestions for the best camera for the job. I am currently using Canon 5d Mark II. One of the biggest problems is that when I pass a window the exposure goes crazy and the focus gets blurry.
I know I'm asking a lot here, but ugh, help...

A tripod with wheels might help if you're rolling on on smooth, flat surfaces.  If you already have a tripod, buy some wheels for it.

Getting a shoulder rig or some type three point contact with your body makes the movement smoother, other options are the tripod one wheels as prev advised.
2nd part of the question
DONT use auto for exposure or focus, do it all manually, if your exposing for indoors as soon as an outside source (window, open door, etc) it will blow out the exposure as it is much brighter, simple fix is to avoid these so planning your shots is a big must here. Otherwise just live with the bright parts as unless you start using skrims or blackouts outside the building you are going to run into these issues.

Wheels are only as smooth as the floor. It's actually quite difficult to get a rolling camera mount really steady, hence the way dollies go on tracks. Keep the lens as wide as you can, a long lens increases camera shake. Most real estate photography uses crazy wide lenses anyway, so this shouldn't be a problem - borrow one of the super wide lenses of the stills camera person and see how that looks.

I never tried this myself, but I believe attaching a camera firmly to a tripod with wheels or putting the Glidecam Smooth Shooter onto a car or something sturdy with wheels might work for you.

Getting a shoulder rig or some type three point contact with your body makes the movement smoother, other options are the tripod one wheels as prev advised. 2nd part of the question DONT use auto for exposure or focus, do it all manually, if your exposing for indoors as soon as an outside source (window, open door, etc) it will blow out the exposure as it is much brighter, simple fix is to avoid these so planning your shots is a big must here. Otherwise just live with the bright parts as unless you start using skrims or blackouts outside the building you are going to run into these issues.

I use a dji ronin mx easy to use and setup supports most dslrs i used it to run along side bikes and cars and the image stays steady. Can buy for around £1300 or about £200 to hire for a day. Great for getting smooth shots can also have a second operator to operate the gimbal and controlled from an app. heres an example of what i shot on it


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New version of Premiere can't link files for old project because it's "type doesn't match"
I just opened a Premiere Pro project that I last worked on in December 2015. Since I have the new CC 2017 (PP v.11) installed, the usual dialogue came up that asked me to save a converted copy of the project for the current software version. I did so, after which the missing media dialogue came up (I moved a couple of folders around since last year). So I selected one of the clips and selected the corresponding file. This error message appeared:

No idea why this is happening. They are the exact same files I used last year. They haven't been converted or anything. They haven't even been moved at all, all I did was rename the top folder containing them. It's the same computer, running the same OS (Win10). All that has changed is the version of Premiere Pro.
Is this a known issue? I searched for the error message but only found older threads with no real solution. Any leads on how to resolve it? Thanks!
Edit: I tried importing the files, which worked. However, they don't have any sound. Maybe it's an issue with some missing codecs?
Some exemplary MediaInfo output:

General
  Format                                   : MPEG-4
  Format profile                           : Base Media
  Codec ID                                 : isom (isom/3gp4)
  File size                                : 15.9 MiB
  Duration                                 : 7s 872ms
  Overall bit rate                         : 16.9 Mbps
  Encoded date                             : UTC 2015-11-06 16:15:36
  Tagged date                              : UTC 2015-11-06 16:15:36
Video
  ID                                       : 1
  Format                                   : AVC
  Format/Info                              : Advanced Video Codec
  Format profile                           : High@L4
  Format settings, CABAC                   : Yes
  Format settings, ReFrames                : 1 frame
  Format settings, GOP                     : M=1, N=30
  Codec ID                                 : avc1
  Codec ID/Info                            : Advanced Video Coding
  Duration                                 : 7s 763ms
  Bit rate                                 : 17.0 Mbps
  Width                                    : 1 920 pixels
  Height                                   : 1 080 pixels
  Display aspect ratio                     : 16:9
  Frame rate mode                          : Variable
  Frame rate                               : 30.000 fps
  Minimum frame rate                       : 29.412 fps
  Maximum frame rate                       : 30.654 fps
  Color space                              : YUV
  Chroma subsampling                       : 4:2:0
  Bit depth                                : 8 bits
  Scan type                                : Progressive
  Bits/(Pixel*Frame)                       : 0.273
  Stream size                              : 15.7 MiB (99%)
  Title                                    : VideoHandle
  Language                                 : English
  Encoded date                             : UTC 2015-11-06 16:15:36
  Tagged date                              : UTC 2015-11-06 16:15:36
  mdhd_Duration                            : 7763
Audio
  ID                                       : 2
  Format                                   : AAC
  Format/Info                              : Advanced Audio Codec
  Format profile                           : LC
  Codec ID                                 : 40
  Duration                                 : 7s 872ms
  Source duration                          : 8s 2ms
  Source_Duration_FirstFrame               : 130ms
  Bit rate mode                            : Constant
  Bit rate                                 : 128 Kbps
  Channel(s)                               : 2 channels
  Channel positions                        : Front: L R
  Sampling rate                            : 48.0 KHz
  Frame rate                               : 46.875 fps (1024 spf)
  Compression mode                         : Lossy
  Stream size                              : 120 KiB (1%)
  Source stream size                       : 120 KiB (1%)
  Title                                    : SoundHandle
  Language                                 : English
  Encoded date                             : UTC 2015-11-06 16:15:36
  Tagged date                              : UTC 2015-11-06 16:15:36
  mdhd_Duration                            : 7872


text:
How do I get a 1960s film look, like technicolor?
What modern digital camera,video editing software and lense, can offer the same look/color/grain of 1960s movies, like james bond thunderball etc. Lighting systems to if possible, also if any can name which old cameras and lenses they used back then too, would also be helpful.

Why not get a modern 16mm camera or 35mm camera and use color film in it? A lot of people do that still. Everything is modern in the process

Pretty much any professional grade video editing software will have "color Correction/Color grading" capabilities -- this is the part of the art that you are looking for. Obviously, the "grain" you'll get here is digital/simulated noise, and not actual particles of chemicals. this is the Instagram filter before there was Instagram.
the website "shotonwhat?" is a good resource to see which actual cameras (and lenses, but not always) were used for movies. Lenses, lighting, makeup and wardrobe and production design also make a big impact on the look of the film, some of which you've mentioned.
Another big part of the equation is the "film stock" -- the actual film used in 35mm/16mm/8mm cameras -- which had countless varieties based on different factors. Individual film stocks often had special characteristics (sometimes intended, sometimes not) which were favored by cinematographers/directors.
the digital equivalent of a film stock is called a LUT (a look up table). so the way it works is this : you shoot the scene in the digital camera's "flat" mode to get the most information on your chip. Then you apply the LUT to make it look like how you want to. On set, you can live preview your LUT to approximate how it's going to look like in post, unless you're just playing with it in post from scratch.
It's hard to give a specific answer to your question without spraying a bunch of brand names -- which is frowned upon here -- but I hope my answer helps you in farther research.

A camera that can shoot in raw will have the ability to do so. Also you need full frame or even medium format for the depth of field and of course the higher quality per pixel.

Raw shooting = a must
Full frame = minimum must
Medium Format = best option (but may be too expensive)

Large format video cameras do not exist, only photo cameras

An amateur response to this will be to tell you to buy {insert plugin name here}, however the real answer is much deeper than this, and would be best answered by talking to a real-world cinematographer. I recommend you get in touch with your local chapter of ACS or BCS and talk to a local cinematographer. All the movies back in the days will have been shot on film, so yes - lenses, lighting and film stock will have had a big effect in generating the look.

Simple answer is Any and All really as technology has improved you can achieve all of this, but what you need is really HOW to achieve this, and this comes down to the team you are working with (normally with many many years of experience).
Now days you still need all of this but a lot of it can be done in Post using a really good colorist. but this question is way to broad for this forum, I would suggest getting onto a film making course and watching a lot of Behind the Scenes if you can


text:
Can a low-bitrate BluRay video be written to DVD-R to be played by BD-players?
Assume a BD-Video directory structure with a 1080p video. It is so boring, that its max datarate is below 10MBit/s, and the entire directory structure takes less than 4.7GB.
Instead of writing this to a BD-R, could it also be written to a DVD-R, and would BD-players run it?

On the one side, the data rate is lower than the max DVD-Video data rate, so the "DVD-part" of the drive is fast enough, and I'd imagine the player just looks at the directory structure to determine if it's DVD-Video, BD-Video or anything else.
On the other side, I read everywhere that the BD-Video standard specifies UDF v2.5 as file system. Many players don't care, but for example the Play Station 3 does. Of course, UDF v2.5 could be used for DVDs, too, but if a player checks this, it could also check the media type and refuse to play the movie.

Yes.
Almost all Bluray players will play a UDF v2.5 with a movie on it, even if the physical media is a DVD.
Something to keep in mind is that you can also encode in 720p, which is still much better than DVD resolution, which will let you can cram even more BluRay contents onto a DVD medium.
Another twist is to encode the movie as AVCHD, which was originally meant for HD camcorders recording to DVDs. Many DVD (!) players and all Bluray players are compatible with this format, so if you encode your movie in this format, you have the unexpected benefit that it will work not only in Bluray players but in many DVD players, too.


text:
How do I round trip through premier without losing audio volume?
I have Premier Pro CC 2017 trial. I have a .MOV file from my iPhone.
Steps:

Start Premier
New Project
Click OK
Drag file into timeline
Pick File->Export->Media...
Click Export

The resulting file has about 1/2 the audio volume as the original .MOV file
Why? I don't want to amplify the audio. I want the original audio as is. The point of this particular video is it's audio. All I wanted to do is crop and trim the video but because it's changed the audio it's useless.
What do I need to change for the audio to stay the same?
Note: this is a new trial. I've never used Premier before. I haven't changed any settings.

Premiere doesn't change the audio levels (volume or db) by default. So I'm not sure why you are experiencing loss in volume.
My guess would be that you have turned down the audio levels in premiere by accident. Or that you are incorrectly comparing the files (have you checked the waveform to see if they are different levels?).
If you changed the audio levels you either did it on the track, clip, or audio mixer. To check if you did it on the clip you can right click on it and check out the audio gain. The mixer settings should all be 0db by default. For web delivery I tend to keep max peaks at - 6db.
If all else fails than you are experiencing some sort of bug. You could always try adjusting the levels of the clip through the right click - > gain way on the clip.


text:
Choppy playback after rendering in Premier Pro CC
I am editing a music video and after I rendered the workspace, I began previewing the video...
In several places the video has become very choppy, skipping frames or something. How do I fix this? Should I play around with playback timing or fps? No clue what to do..
Any help is much appreciated!
Navi

More information required. Is your render choppy? Is your time line choppy in those areas before rendering? Did you disable any effects while editing and enable them before rendering? Have you tried clearing you cache?

Do your system specs meet Adobe's minimum requirements? https://helpx.adobe.com/premiere-pro/system-requirements.html

The first thing you have to do is to determine whether the choppiness is due to a bad source (your camera skipped some frames) or an inadequate playback system (your editor is demanding more from your hardware (most likely disk subsystem or GPU) than it can provide).  To do this, render out a small version of the video (such as 360p) and see whether that plays back with or without glitches.  If the render has glitches, you have a bad source file and fixing it will be very hard to do.  If that render plays back without glitches, the problem is likely that your hardware is not powerful enough to edit video as is.  In that case, you can try editing proxies, which are basically smaller versions of your original files.  Once you have all the edit decisions made, you can render out a full-res version.  But it still may not play back without glitches unless you have a good disk subsystem and a sufficiently powerful CPU/GPU.
To test the speed of your hard drive system (and to see what video specs it can support without glitching), run the Blackmagic Design Disk Speed Test (if you have a Mac): https://itunes.apple.com/us/app/blackmagic-disk-speed-test/id425264550?mt=12 .  Or equivalent if you don't.

If the original video plays smoothly in all video players and the resulting video after importing it into Premiere and exporting to any video format and/or bitrate is very choppy, then the problem is Premiere. Especially when everything is OK in case of re-encoding the original video before importing it into Premiere using some free video converter.


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ProRes444 Codec download process to Adobe Media Encoder
I am using MacOS Sierra and am trying to download the ProRes444 Codec in order to export my Adobe After Effects 4k RED footage in this format (probably using Adobe Media Encoder based on what I have seen others do). I found a download of 'pro video formats' that supposedly includes this codec, and downloaded a trial of final cut pro so that it could run ProRes444 on my computer, but am not sure how to find it in Media Encoder now. Are there other steps I'm missing? Thanks!

This question is confusing.  Media Encoder and After Effects are part of the Adobe world.  FCPX is part of Apple world.  Media Encoder doesn't really talk to FCPX at all.

@MichaelTiemann I only downloaded FCPX because ProRes4444 (as Bobby Circle pointed out it is actually called) wouldn't download onto my computer unless I had FCPX already installed (or a few other programs, none of them Adobe) . I asked my acquaintance who recommended ProRes4444 and they confirmed that I would need FCPX order to download the codec. Does this seem wrong to you? It does seem strange that I couldn't download it with Adobe but could use it with Adobe afterwards...

A workaround is to render to a lossless format, and then transcode to prores with something like ffmpeg. It works for windows users when clients demand prores encoded files.

To clarify: you do not download the codec. Installing FCP installs the codecs. The standalone codec download is for people who only wish to play ProRes files. You want the ability to encode ProRes files as well. Once you install FCP you should see the ProRes codec(s) in all apps, including Adobe apps. If you are not seeing them, something else is wrong.

Try Cineform or DNxHR. ProRes is so 2007.

In Media Encoder you first need to select your destination format as Quicktime. From there you should be able to find ProRes 4444.

I believe you mean ProRes4444.
As I understand the general situation, and as you also imply in your question, one needs to install FCP in order to encode with the indispensible ProRes codecs in other apps (such as Adobe ones.) That's certainly what I've gotten used to doing on brand new machines. I'm not sure if the trial version of FCP would do the trick, but I don't see why not. I don't think there's a stand-alone installer of the ProRes codecs, at least not for encoding. It's probably just for decoding (i.e., playback of a pre-existing ProRes video.) Someone correct me if I'm wrong here.
Okay, so let's assume the ProRes codecs are successfully installed (for encoding, not merely decoding) on your machine. In Media Encoder, you can export using Presets, or you can export using custom settings. You want the latter. Check out this link to see the various ways to access the custom Export Settings. (I usually just click on the pre-assigned preset name to open the custom Export Settings dialog window.)
Once you get the custom Export Settings window open, you'll need to change the Format option to ProRes4444. If you don't see any ProRes formats in that dropdown list, they may not be installed properly yet. You can also check to see if the codecs are currently installed for encoding from AE without firing up Media Encoder. Just add an item to the render queue and try to customize the output format. If you don't see any ProRes codecs available in AE, you probably won't see any in Media Encoder.


text:
How to archieve similar particle effect
While wathcing the trailer to the upcoming plugin "Stardust", at 00:13 mark of the video, there can be seen a particle effect that resembles a orb of power;

Since this plugin is not out yet, does anyone know how to archieve a similar effect as shown in the picture? To see it in motion click here.

Your picture link doesn't work anymore.

It goes by pretty quickly! It looks to me like they've taken a frame of something that is white at the bottom and producing purple particles upwards, and then applied a rectangular to polar distortion to it, or possibly wrapped it into a 3D sphere.


text:
How to implement apearing 3D text in video?
First of all I like to mention I have some knowledge in After Effects, as I created "Dragonball Z" effects for fun few years back. I also have some basic knowledge in Photoshop to create 3D texts, visuals ect.
I am looking for a way to create a intro video for my Youtube channel, which will contain 3D text and the footage from Wrath of The Lich King intro cinematic where Lich King Arhtas stabs the ice with Frostmourne.
I was wondering if there is a tutorial on how to implement 3D Text so it appears from the crack in the ice and after that blurring the video except that text? If you guys can show me some tutorial on that it will be much helpfull.

Very easy to do. You can use a mask and vignette to make it appear faded or on the ice. With a layer over the 3D text to make it blend better with the layer it's on. To fade the background and not the text just apply a Gaussian blur to the video.

You can also shrink it real small and have it grow up out of the crack first


text:
Should I do color grading in FCPX or round trip do DaVinci Resolve?
I'm an amateur learning to edit videos from my GoPro, DSLR, and quadcopter. I've tried various NLE's for cutting and liked FCPX workflow much more then Premiere Pro and similar editors with tracks. But for color grading looks like most editors use DaVinci. How it is different from FCPX? Does it have any advantages in case of simple grading for amateur projects?

As much as I love FCPX's very innovative interface, the color grading always seemed clunky to me. And then there's the elephant in the room: there is no white balance / color temperature function. This, to me, is Apple's way of saying: don't use FCPX for grading.

Use Resolve, it is far superior to FCPX for grading.
This is my workflow, since I always shoot in RAW with the Blackmagic Cinema Camera.  I know there are ways to do this using XML, but I've run into issues with that when I segment a larger clip in FCPX and then bring it back to resolve it will then have each of those clips as individuals, instead of the one larger clip.

Import the RAW DNG files to Resolve
Add all clips to my timeline (their order doesn't matter)
Apply a Blackmagic film to rec709 LUT and perform some basic grades
Export as individual clips. The format and codec you use are up to you, but for editing I use 422 proxy

Ensure that you export your clips using the source filename and save to a folder titled something like "Edit Media" or whatever you'd like

Import those clips from the "Edit Media" folder into FCPX and perform your edits.  Once you're satisfied with your edits,  go back into Resolve and perform the final color grades of the clips you wound up actually using in your video.  Render them at a higher quality (how high is up to you) and overwrite the clips in "Edit Media"
Open the project again in FCPX and render your video.  The clips should automatically be overwritten with the new ones you just exported from Resolve, as long as you keep using Source Filenames

Isn't looking for pieces that you've used in your final video kind of tedious? I tend to record everything and end up using like 10% of my footage and often in small slices.

Well I usually scrap the stuff I know I definitely won't use before I even color grade.  I'll remove them from the media pool in Resolve if I don't like them.  I've done the XML roundtrip, but when I have one large clip that I break into smaller pieces in FCPX and then bring back into Resolve, I then have a bunch of smaller clips and then when I go back to FCPX, it won't work, because it's still looking for the longer clip @Poma

This might work for you...
I import my source media (BMPC4K + GoPro ProTune) into FCPX 10.3.
I 'Show Package Contents' in the Mac Finder and point Resolve at those files.
After grading is done in Resolve I export an XML file using the FCPXXML preset.
Import that XML into FCPX and it creates a project/timeline with your Resolve edits.
You can create your proxies in FCPX using the Transcode Media function.

There are number of good color grading tools for working directly in FCPX available from 3rd parties if you prefer staying in one app. For example Color Finale is well liked. Apple's own Final Cut Pro X Resources page has a color correction section that lists a number of other color correction plug-ins available for the app.


text:
Exporting XML EDL from Premiere to Davinci Resolve
What is the best way to successfully export an EDL from Premiere to Davinci Resolve?
Currently I export a Final Cut Pro XML, but whenever I import into Davinci, there are often errors with scale and speed, if any changes have been made to the size of the source footage.. What's the right way to do this?

Fcp .xml  is limited in features. Although more powerful than other EDL types, most of Premiere's transformation and animation properties are not supported. You can read more about its capabilities here. However it appears Premiere CC neither exports the xml file as recommended by Apple nor in its latest version.
I'd suggest collapse your timeline and make sure there are no nested clips. Then save your timeline as .xml (at least for reference) and replace all faulty shots in Resolve, if required. Alternatively you can export the whole clip from Premiere via any production codec or ideally as image sequence (.exr, .dpx, whatever you like depending on your color management workflow) and use Resolve`s Scene Cut Detection function to chop the imported clip into multiple shots automatically.


text:
AE distort mask
So I recorded nintendo ds gameplay with my phone and I masked out what I need. I made a pask using the pentool but of course this is not a nice rectangle. So what I want is to warp the video so the masked part fits in a rectangle, but i have no idea how. This is what I mean but in another editing software:

 watch 2:30-2:50
But I want to do this in AE

There is an effect called Corner Pin that does exactly this. Apply it to the video and drag the corners so that the video is the shape you want. You may need to mask the layer as well - it's usually easiest to precompose the layer with the effect on it as the effect is applied after masking, making it a bit tricky to position your mask.
For more bells and whistles, recent versions have included the CC Power Pin effect. I'm not 100% sure what the advantages of this plugin are, but you might want to look at the menual here.


text:
Is it possible to increase video gamma or brightness at container level?
I would like to know if is it possible to increase the brightness or gamma of a video without full re-encoding. For example some versions of ffmpeg allow certain special bitstream filters described here - presumed we have a h264 video - : http://forum.doom9.org/showthread.php?t=152419 which can alter some of the video characteristics without re-encoding the video. Some containers also can store such a meta information about the video gamma or brightness, as far as I know matroska, and QuickTime, and maybe there are some video players too which can deal with this information.
I know that a similar modification, namely cropping the video is possible without a full re-encode merely by setting the cropping information at container level. For example such a video uploaded to youtube are cropped at the values which were set at the container level. So this could be a quick fix for unneeded logos and black bars.

Which codec and which container?

Any! I would like to know, with which codec and container is it possible. Maybe with H264 by manipulating the video data in a clever way? Or with matroska by setting / adding the necessery meta tags? I have no clue.

This would be really useful if it were possible. The only container/codec that I know you can do it with is dng sequences, which can have exposure and colour grading information in the metadata or as a sidecar file. But not exactly a useful delivery format.


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Correct order of layer effects in Premiere CC 2017?
For once in my life, I've been handed an edit job that is shot in such a way that I can grade the whole thing in one pass with a LUT.
On this particular edit, I need to first use a Log conversion LUT, and then can apply the additional grade LUT. I'd like to do this with Adjustment Layers to facilitate easier revisions (rather than clip-level effects).
What is the correct order of rendering with regards to adjustment layers? If I put each LUT on a different layer, which is applied first?
My searching revealed no answers; apologies if my underslept brain has missed an obvious one.

I agree with McFlySoHigh. If you have multiple adjustment layers placed one above the other, the effects will be applied from Top to Bottom.
A bit more on the order of effects application in Premiere Pro:
First, it applies effects from Master Clip,
Then go the effects applied to the clip in a regular way: to the Effect Controls panel (Top to Bottom)
Then, nested sequence
And at the very end, effects from Adjustment Layers are applied, going from the top layer to the bottom one.

I'm fairly certain that Premiere Pro renders all layers from bottom to top. I have found several sources that confirm this behaviour for After Effects, but nowhere is it stated explicitly for Premiere Pro.
From the Adobe documentation for After Effects:

A composition consists of layers stacked on top of one another in the Timeline panel. When the composition is rendered—either for previewing or for final output—the bottom layer is rendered first. Within each raster (non-vector) layer, elements are applied in the following order: masks, effects, transformations, and layer styles. For continuously rasterized vector layers, the default rendering order is masks, followed by transformations, and then effects.

Source
Rendering layers from bottom to top is also the logical order. If it was the other way around, blending modes and certain other effects couldn't function properly. Let's say I have two video layers, the upper one being set to multiply as it's blending mode. This blending mode takes into account the pixels of the video layer below it. This wouldn't work if that layer hadn't been rendered yet.
So I would suggest this layer order for your timeline:
Adjustment Layer with color grading effects
--------------
Adjustment Layer with color correction effects
--------------
Layer with video clips

Alternatively, you could just put all your LUT effects on the same adjustment layer. Keep in mind that effects on a clip are rendered top to bottom. So if you have just one adjustment layer that holds one LUT effect for color correction and another one for color grading, make sure the color correction effect is on top in the Effect Settings panel.

Shouldn't it be bottom-to-top?

@Mulvya ehem ... yes. My bad ^^'

One more thing: "make sure the color grading effect is on top" --> bottom, right?

@Mulvya indeed. Guess I utterly confused OP. Sorry :p

I'm fairly certain it doesn't matter from a rendering perspective. Say you have a simple lut that makes e everything more blue. Then you have another effect that adds more contrast. The lut is just mapping values from a certain 'level' to another, while the contrast is just adding to that. Whether ones on top or ones below it doesn't matter, they are both 'flattened' during render. The only reason you might want your minor color temp and exposure changes to be made before is to match clips or adjust so the lut looks good. But if everything's homogeneous it doesn't matter.

@Alex I think that's exactly what OP wants. But for certain effects, the render order is very important indeed. For example, take a look at this. If you exchanged the Keying and the Alpha Adjust effects, the result would be completely different.

Yea but not for cc stuff.

If your LUT is applied to the footage files as a filter within the project (and it shows up in your Effects Controls Window Pane; order will matter, and you will want it at the TOP.
PPro prioritizes from Top to Bottom for Effects.
If you can apply your LUT to the footage outside of PPro, where it actually writes to the clips metadata which Premiere would then interpret, then you don't need to add it in PPro; but you should still do the LUT process first.
Use your LUT to color correct your footage to "Primary". Then use your color correction effects to get the look you want once all your footage is graded to match.


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Is it possible to loop a 360 degree YouTube video offline?
I want to put a 360-degree video from YouTube downloaded offline and uploaded to WordPress so the user can immediately view a VR/Google Cardboard split-screen vid (no VPN required). The video would be a continuous loop and act as a "simulation" of an environment. Also, there would be the same capabilities of moving the phone around/gyroscope effect to view the video from a web browser.

I've added an answer to get you started, but this is really not a production challenge, so I'm voting to close this one. It's rather about coding, I suggest you ask this on stackoverflow or possibly on wordpress.SE or webmasters.SE

You can use marzipano which will provide all the code necessary for the viewer and provide you with a Javascript API for customization.
A quick Google search found me this Wordpress plugin which claims to do what you want as well.
Honestly, what you're asking is quite complicated. If you can't do it on your own using the tools linked above, I suggest you hire a web developer to do it for you.


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Video effects over the live webcam stream for a party
The idea is to stream a webcam video from one party location to a projector in the main area. It would be cool if I can find a way to add "fun cat faces" effects or something similar on the fly to the video. There are plenty "face booth" phone apps for selfies, but I'm looking for using a stationary webcam connected to my computer and more faces at a time that on a usual phone. Any suggestions? Thank you

I think you are going to need something out of your price range to complete such a task. Video, is far more complex to process in real time, than say a photo, that only analyzes a single frame and looks for simple objects like eyes, nose, mouthlines, as anchors.
The NewTek Tricaster ($20,000) line would be an option for this, but you'd need a company to come in to do it, and with a workflow pre-established to make this work.
In short. No, there is no easy way.


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Automated, script and template based video editing
Basic idea - I have a lot of .mp3's that I want to turn into video which would contain static background image and audio visualizer. While it's easy to do this by hand, It would take a lot of time (lots and lots of mp3s). So I was thinking of perhaps somehow automating all of this, but all I found was pretty much moviePY or another solution is AHK script for any video editing software.
Isn't there any better solutions? Most of the stuff would remain the same, So pretty much in theory I'd just need a template with static background image and audio visualizer effect and I'd just change audio track.

You could do this with ffmpeg if the aesthetics of its waveform visualizer is acceptable to you.

Automation Software might be a good option, although you'd need to give yourself a day or more to just get yourself up to speed learning curve wise.
AutoIt is free, and you can basically code your scripts and then compile it into a program or batch file which you could run on a folder of files.
I use a program called WinAutomation, which is similar to AutoIt, but you have to purchase ($800ish). But it makes task automation, even to a very high level of sophistication, and allows you to automate human processes.
With WinAutomation you could create a program that basically opens sequentially each file, loads it into your editor, adds video to a timeline, random, or based on variables, applies filters, sets up settings, exports, when finished, it would do the next one.
But again, learning curve wise.
Either way, its going to come down to coding/programming/scripting. I don't code enough to be proficient at it, so while I can cut/paste/modify and even write basic code in a few programming languages, a package like WinAutomation allows me to make programs that work like actual programs, and do very complex tasks, which script/code wise would require a lot of time to learn language wise.
Look at AutoIt. Its used to make so many apps and programs, and again, its free, with tons of resources and projects you can download to get a feel for how it's build architecture works.

I use ffmpeg to combine a static PNG with MP3 to create a composite MP4. The Job Listings video on https://joblist4u.com is created daily using ffmpeg to render the finished MP4. The process is 100% unattended. The AutiIT and WnAutomation are scripting shells, and Windows Powershell is more suitable and is part of Windows 10.


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Different transform options of shape layers
When dealing with shape layers, you get 2 transform options. One is inside Group sublayer and the other is just plain transform. This image shows what I mean:

When should I use Transform Group and when just Transform? My shape only has 1 group. In that case, does it matter which transform I use?

Shape layers can comprise more than one shape, indeed they can contain multiple groups of shapes. So when you have multiple elements in a shape layer and want to transform one of them but not the others you use the individual transforms for that part, when you want to transform the whole layer you use the normal layer transforms.
If your shape layer only contains one element then there is really no difference, except that the layer transforms are accessible to keyboard shortcuts, e.g. P for position, S for scale etc., and work with nudging, e.g. the arrow keys or num pad + and num pad - for rotation.
Of course you can achieve the same result as having multiple parts to a shape layer by creating multiple shape layers each containing one part and grouping them by parenting, using expressions or precomping them.
Whether you make shapes with individual parts per layer or all in one layer is a matter of taste. I tend to switch between the two, but mostly favour individual parts per layer - I like my keyboard shortcuts.
I kinda think the AE layer shapes implementation isn't AE's strongest feature. For anything complicated I always do it in Illustrator and import.

If you are only transforming 1 group, you can leave this set to normal.
Another way, which is what I would do: Parent all your shape layers to a single Null Object Layer. Then transform the Null Object Layer.
This will allow you to easily control the transforms, either 2D or 3D with one layer node.
Null Object Layers are one of the best tools in the AE toolkit.


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Send webcam feed to server for buffer
Let me explain my problem:
I have 2 webcams looking out over the beach but my internet connection is very slow. So i'm looking for a way to buffer the videofeed to a server and then let my clients connect to that server instead of directly to the webcams.

Here's something I saw at github might answer your question.

This example demonstrate how to encode set of buffered images obtained
  from Webcam instance, transcode into h.264 stream and send to remote
  peer where it is decoded and rendered in panel.
Example provided by hepin1989. Thank you! This is wonderful piece of
  the good code :)
How To Use

Run StreamServer - this will open the webcam device and start listening for incoming streaming requests.
Run StreamClient - this will connect to the StreamServer and start displaying image from the remote camera.   The server / client address
  is localhost by default to run client and server on the same machine,
  but if you want to stream over the network, you need to change it to
  reflect your real IP address (server must bind to eth0 instead of lo
  interface to be visible from the NAT).

Notes

The code supports sunny-day scenario only, just to demonstrate the idea, so there are is no complex error checking statements and the
  code may behave in unexpected manner when launched in real network.
It uses Xuggler which seems to be discontinued.
Remember, this example is to present an idea, so if you need enhancement or bug fix, please implement it and send pull request to
  share it with community. Be creative :)
To perform streaming over the network you need to change address in server from localhost to your real IP address (e.g. such as
  192.168.1.10 or 0.0.0.0 in general). I'm not sure how it works with the IPv6 support - feel free to test it.

her is the link- https://github.com/sarxos/webcam-capture/tree/master/webcam-capture-examples/webcam-capture-live-streaming

Livestream does this. It's built in, in terms of functionality of a drift buffer.
Basically, the buffer does not "exist", until time passes, and it grows, as time passes.
So after X min of feed in, it has only fed out X * 0.9995 of the stream. The speed of the program feed from a viewers perspective, in terms of the fact they are not actually watching it at 100% speed, is too small to notice. But over minutes, hours, etc, it adds up to a decent buffer, to where the live vs program can be minutes or more apart.
I believe livestream has a free option. Also youtube offers streaming now. I would not be surprised if they have this also built in.
Hope this helps.

I understand but my question is more the internet connetion to the location is very bad. So i want to upload the stream from the 2 webcams to a server so that server can then server the stream to the visitors of my site. At the moment i show the livefeed from the webcam direct to the visitors. SO when 3 or 4 poeple watch at the same time... lets say the frame rate drops to 1 frame every hour.

@JelleDijkhuizen, with Livestream, YouTube streaming, or Facebook Live, you stream the web cam to the services servers and then viewers connect to the servers. The number of viewers won't impact your connection to the service.


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Camera problems in After Effects
I have this problem where when I add a camera layer, my composition disappears (but only when the view mode is set to Active Camera). How can I fix it?

I also have problems zooming in on just a part of the composition. Like from wide view to a specific layer.

What hardware are you using?

@JasonConrad I'm on a ASUS ROG laptop if this is what you meant by hardware, and I'm using Adobe After Effects CC.

I ask because I was switching between renderers (cuda, metal, open cl) in Premiere last night just to see the performance differences, and was having some problems where the screen wouldn't re-draw.  I was thinking your problem might be related to the graphics card.  I don't know enough about it to really know, but was hoping someone here might have some insight along those lines.

It seems I was a complete noob ( for I am new with After Effects ). I couldn't see my composition because the blur on the camera was turned to 100% and everything was completely out of focus. Also, I couldn't zoom in on a specific layer because the camera was underneath them. This video helped me a lot to understand the way camera works in Adobe After Effects, and I wish I had found it earlier because I am dealing with this problem for a while now.
Thank you @JasonConrad for trying to help!


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Does Youtube count views from facebook?
I am not sure if this is the place for the question but i am sure someone here has experience with it.
Last month i have uploaded several videos to Youtube and linked them on facebook page.
First one has 54 views counted in Youtube. On facebook it says 14 shares, 1.1k views.
Another video had Instagram boost, around 10k likes, 46k reach, 500 clicks, and on Youtube total of 1.1k views.
When testing with different browsers i do not see views number increasing when looking embed video on Facebook.

What counts as a view on Facebook are way different that what counts on YouTube. Facebook is famous for its defense on three second views. This is in contrast to YouTubes complex algorithm that determines a legitimate view or not. This is why you see such a large difference in views between the two platforms.


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"ffmpeg" set fontsize and font
Im trying to set font and font size but i can use only one of the filters not both here is mine command
ffmpeg -i movie.avi -strict -2 -vf subtitles=subtile.srt:force_style='FontName=ubuntu, Fontsize=30' -qscale:v 3 out.avi

but I get
No such filter: 'Fontsize'

But if I set just Fontsize it works just fine, any help ? TNX in advance

I did solved this with " "
"subtitles=subtitle.srt:force_style='FontName=ubuntu,Fontsize=30'"

Remove the space.
ffmpeg -i movie.avi -strict -2 -vf subtitles=subtile.srt:force_style='FontName=ubuntu,Fontsize=30' -qscale:v 3 out.avi

Tnx for quick reply but Iv got same error
[AVFilterGraph @ 0x1f56f20] No such filter: 'Fontsize'

This is a matter of which quote marks you're using. If I use double quotes, I get the same error. With single quotes, it works. Is your command run from inside a batch file?

No its not its command line Im getting error and I using single quotes TNX

Show the full console output.

Here you go http://pastebin.com/GWT0YMtW

Try escaping the single quotes. This is really a shell-related Q, not ffmpeg.

I did tried without '' but same dial filter error

Try my command on another OS or setup if you can.

In my shell I had to escape the comma: ffmpeg -i movie.avi -strict -2 -vf subtitles=subtile.srt:force_style='FontName=ubuntu\,Fontsize=30' -qscale:v 3 out.avi


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Center Spin turntable
I am doing now a Turntable video Project similar to https://www.jamesallen.com/engagement-rings/solitaire/14k-white-gold-15mm-comfort-fit-engagement-ring-item-22606
I am right now working a lot time to make sure that the item is exactly entered on the turntable so it should look good
Is there any software that could fix the video if it was not centered while capturing?
see here https://arqspin.com/product-tour/manage/dewobbler/ this website does a good job but it converts it to images, and even if you export it as a video it will become bumpy like a gif...
Or does anyone have any experience or ideas how i could make sure that it is exactly centered?
Thank you in advance

I would think you could make sure it's centered by having a horizontal object (just a dowel, or something) placed at the center of the item. Turn on the turntable, then look at it through your camera's viewfinder. If the dowel moves back and forth horizontally, then it's not centered on the dowel.
As for fixing in post, it's certainly possible, though maybe a little time consuming. BTW, the "fixed" video in the dewobbler example still has a small amount of wobble that I personally find more irritating than the original large wobble. But maybe it's just me.
To fix it in post, you need to mentally define the center of your object. Then as it moves back and forth, move the center of the object to the center of the frame and set a keyframe. The keyframes will probably create a periodic pattern like a sine wave or something similar. In fact, it seems like that's mainly what they were doing in the dewobbler video - just setting keyframes for moving the center. This can be done in most video editors or motion graphics apps like FCPX, Motion, Premiere, After Effects, etc. Just use the normal transform tool.


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How should I understand audio levels in FCP7 xml?
I'm a software developer working on an application which takes a Final Cut Pro 7 xml file as input, and reads the audio in that XML file (for reporting purposes).
For any given <clipitem> which represents an audio file there is often an <effect> which represents audio levels. The audio level <effect> element has a child <parameter> element which contains multiple <keyframe> elements.
<filter>
  <effect>
    <name>Audio Levels</name>
    <effectid>audiolevels</effectid>
    <effectcategory>audiolevels</effectcategory>
    <effecttype>audiolevels</effecttype>
    <mediatype>audio</mediatype>
    <parameter>
      <name>Level</name>
      <parameterid>level</parameterid>
      <valuemin>0</valuemin>
      <valuemax>3.98109</valuemax>
      <keyframe>
        <when>0</when>
        <value>0</value>
      </keyframe>
      <keyframe>
        <when>94.1429</when>
        <value>0.125893</value>
      </keyframe>
    </parameter>
  </effect>
</filter>

I need to figure out what the audio level at any given point in time is for the given <clipitem>.
What I don't get is that the <clipitem> may have <start> set to 1757 and <end> set to 2523. That's a duration of 766 frames.
However, for that very same clip I see the below which to me indicates that the audio level changes to 0.0562341 in frame 1252.57.
<keyframe>
  <when>1252.57</when>
  <value>0.0562341</value>
</keyframe>

How can a keyframe occur at 1252.57 for a clip that has a duration of 766 frames?
The documentation says...

The first keyframe always has a value of 0 for when, and the last
  keyframe always has the duration of the clipitem as the value for when

I know this is not going to help but you are aware that FCP7 is not supported by Apple anymore (I know there are a few people out there still using it but it is loosing to Adobe PR and FCPX)

@AdamMannPro yes, i know FCPX is the newest version. It is my impression though that a lot of people still hang on to FCP7?

If you have access to FCP7, create a trivial project with keyframes in known positions and check.

@Mulvya that's the issue...I don't have access to neither mac nor FCP7. I have a single FCP7 xml file and the corresponding screendump of the timeline...but the project is complex and I find it hard to "debug".

It might be worth doing a survey or likewise to find out how many still use fcp7 as I know of no-one myself who use it as they have moved to adobe or fcpx when apple announced the change. There are many facebook groups who can have a poll run on them. But from what I have seen it might be a wasted venture developing something for a app that was killed off in 2010 and has no support from apple or any other devs.

Also if your developing a app or likewise I would have thought that having access to the application would be a must ?

@AdamMannPro there are many corporate users of FCP7 still, even though most are just biding their time until they can switch to Premiere. A Facebook poll won't likely reflect that.

How can a keyframe occur at 1252.57 for a clip that has a duration of 766 frames?

Because the user could have used a clip that was longer than 1252 frames, set a keyframe, then trimmed the clip down to 766 frames. If the user later decides to make the clip longer again by changing the out point to a later time, the keyframe will still be in the place they originally placed it. So your calculations should treat the keyframes as they are, even if they are outside of the clip times.


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How to normalize 360-degree videos so that certain object / person remains in the middle?
I have multiple 360-degree clips recorded with Ricoh Theta S.
When recording I didn't think too much about orientation - where is back, where is front - it is 360-degree after all.
When editing and merging clips I realized that sometimes I'm located in in the front, in the back, on the side - it is very confusing experience.
I need to "normalize" multiple clips - so that I'm in the middle.

A proposed workflow (Premiere Pro):

drag the clip to the timeline twice
align them side by side so that I'm in the middle

It feels achievable, I'm just wondering if there is a better, recommended, default, sure-fire way?

EDIT: https://helpx.adobe.com/premiere-pro/using/VRSupport.html - I'm not sure if my version of Premiere Pro supports these workflows.
PS: This is a super-comprehensive link: http://jonnyelwyn.co.uk/film-and-video-editing/editing-360-and-vr-video/ (very advanced, I just need basic stuff)

You may have sorted this out by now, but I saw the open question, so I thought I'd answer it.
If you have a subscription to the Adobe Creative Cloud, you can now do this reorientation in Premiere.  In June, Adobe bought out the Skybox plugin from Mettle.  Essentially, that plugin allows you to re-orient your 360 video in AE or PR among other things.
There's now an effect in Premiere called 'VR Projection' and it allows you to adjust the pan, tilt, and roll of your projection.


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Youtube Standard Licence
I add my own content to music and post it to you tube.I am not very prolific my last upload being four years ago. Have You Tube relaxed their attitude to music being posted in that time as it seems there are lots of full albums which are on major labels being uploaded? I remember trying to upload a Roxy Music video and being threatened with being banned four years ago

I'm voting to close this as it is not production related. However, I've added an answer to point you in the right direction.

I'm voting to close this question as off-topic because YouTube legal questions are not Video Production questions.

If you use copyright-free / public domain music, you will be fine. YouTube offers a lot of music you can use.

This has nothing to do with the YouTube Standard Licence, but rather with copyright. The licence selection you get when you upload a video to YouTube is about how others may use your work. However, you are asking about using other people's music in your videos, so it's the other way around.
Whether you can legally upload other people's music depends on your country's legislation. For example, in Germany you would be infringing copyright in 99.99% of the time as our copyright laws are quite strict. In the USA, your usage may or may not be legal under the Fair Use doctrine. This depends heavily on how and with what intent you are using the music, if you are making money off of it, and several other factors. You need to read up on the legislation that applies to you (depending on where you live) and when in doubt consult a layer.

Have You Tube relaxed their attitude to music being posted in that time as it seems there are lots of full albums which are on major labels being uploaded?

The three most common situations for music on YouTube are the following:

The uploader is the musician himself or his label. So they have all the rights to distribute the music however they want.
The usage of the music is protected under Fair Use laws (see above).
There is no legal basis for the uploader's usage of the music and they JUST DO IT, assuming noone will ever sue them and the worst thing that can happen is that they will get a copyright strike on their channel. For the most part, this assumption is pretty solid, as in theory 99% of the content on the internet infringes someone's copyright but only a minority of those cases ever get followed up on and even less people ever have to face real consequences following a copyright infringement.

The current YouTube policy regarding music is really strict. Take a look at this link to see which songs are allowed to use and this link to read about their "Fair use guidelines".


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ffmpeg replay input to output giving errors
I'm trying to stream something back out using this command:
ffmpeg -i rtmp://xxx.114.173.196/live/ninja -f flv rtmp://127.0.0.1/live/test

but it is throwing the following output:
[flv @ 0x3e3e6e0] video stream discovered after head already parsed
[flv @ 0x3e3e6e0] audio stream discovered after head already parsed
Input #0, flv, from 'rtmp://xxx.114.173.196/live/ninja':
  Duration: N/A, start: 0.000000, bitrate: N/A
    Stream #0:0: Video: h264 (Main), yuvj420p(pc, bt709/bt709/iec61966-2-1, progressive), 1280x720 [SAR 1:1 DAR 16:9], 62.50 fps, 60 tbr, 1k tbn, 120 tbc
    Stream #0:1: Audio: aac (LC), 48000 Hz, stereo, fltp
[swscaler @ 0x3eb1180] deprecated pixel format used, make sure you did set range correctly
[flv @ 0x3f32780] FLV does not support sample rate 48000, choose from (44100, 22050, 11025)
[flv @ 0x3f32780] Audio codec mp3 not compatible with flv
Could not write header for output file #0 (incorrect codec parameters ?): Function not implementedStream mapping:
  Stream #0:0 -> #0:0 (h264 (native) -> flv1 (flv))
  Stream #0:1 -> #0:1 (aac (native) -> mp3 (libmp3lame))
    Last message repeated 1 times

What am I doing wrong?

Try
ffmpeg -i rtmp://xxx.114.173.196/live/ninja -ar 44100 -f flv rtmp://127.0.0.1/live/test

The sample rate cannot be 48 kHz, which is triggering the absurd message that MP3 isn't compatible with FLV although that is its default codec.
This command should work, while avoiding transcoding:
ffmpeg -i rtmp://xxx.114.173.196/live/ninja -c copy -f flv rtmp://127.0.0.1/live/test


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Blackmagic (BMPC 4K) colour moire removal
Does anyone know a way to:

Prevent colour moire at time of capture
Remove colour moire in post (FCPX or Resolve)

BMPC 4K / ProRes422HQ / ISO 400 / 6500K / Film / 30fps

As far as I know there is no way to remove Moire in post. It's like having clipped audio. You might be able to hide it. But you won't be able to get rid of it.

Thanks - I'll have to hit Google some time and find out what causes it.

I believe it's debayering. Usually it's only on heavier patterns e.g. larger lines but I've never seen it on such fine detail. I would almost say this looks more like chromatic aberration which can be fixed in resolve I think but don't quote me on it. Some cameras don't have very good antialiasing filters or any at all and I believe the black magic is one of them. The benefits of not having one are usually extra sharpness.