text:
Does amount of display's pixels affects computer's performance on lower resolution settings?
Let's say I have 1080p display, if I would set 1080p in OS settings then overall performance would go down (noticeably if laptop is low-specs).
But what gonna be if set system to 720p (fine for my laptop), but with the same 1080p display.
Will I loose performance in that case ?
I just had idea: what if watch 1080p movies on such display, but set lower resolution for another tasks.

Setting your graphic card to work at a lower resolution will provide a small increase in performance in the case you described.
For example:
1920 * 1080 = 2,073,600

1280 *  720 =   921,600

2,073,600 - 921,600 = 1,152,000, or 56% fewer pixels.

If you spend all your computer's time working to create text to fill the entire screen with new information then you would be able to do that almost 180% faster - but that is an extremely rare use case.
One way to understand how that's a rare use case is: when you look at this webpage it's the graphics card that updates your screen (and not your computer's CPU), for 1/10th of a second your computer will be faster and for the remainder of the time you will gain no speed increase (and suffer with lower resolution).
A more realistic way to estimate is that if 10% of the CPU's effort went into creating a screen full of text, each second, then you would speed up that 10% by almost 180%. Put another way, your computer would be 8% quicker if all you did was have text go flying past your eyes all day.
It's not a good tradeoff to suffer too low a resolution for a small increase in performance.
Don't confuse the above with watching videos. Watching videos involves decompressing a highly compressed data stream, most of the effort is running the algorithm to undo the compression; writing the pixels to the screen is the easy part. In fact a lot of compression algorithms rely on the fact that not every pixel changes constantly, deciding what can be skipped and what needs to be updated, along with how to reduce the data stream's size, represents most of the effort.
Going from 1920x1080 to 3840x2160 is a much bigger jump, and in fast paced video games where everything is constantly changing indeed there's a lot of effort going on in the background to create new data to display (or decide if it would not be visible, and not display it).
Yes, you'll get a bigger jump in performance going from 4K to 1080p in a gaming scenario but at a huge loss in resolution (and enjoyment); it would really be a waste of money to buy a 4K capable computer and run it at 1080p and a waste of money to go halfway and have the components but not enough horsepower to run them - thus the big market for upgrades.
Your savings going from 1080 to 720 will be much smaller, and likely only increase your frustration with too small a screen, over any small increase in CPU performance.
If you had a 4K laptop and kept is at 1080P, and only bumped it up for watching videos or playing games, you would have more CPU power available, but that's not the difference you are asking about (you only want to go from 1080 to 720). AND since you're not doing intensive work at the lower resolution the savings gained is even smaller.
I hope that was clearly explained.
As a personal example: I want my cellphone to operate quickly, to save power, and I have a tiny screen that can only display up to a certain resolution; I'm not going to be able to see over 4K if I wanted to.
I run it at 2K all the time (and with Android there's no auto-switching resolution based upon what you're doing). I get an average of 20 hours per charge and my phone benchmarks as the fastest.
I don't need to go to 720p to squeeze more life out of the battery nor would I want the beautiful screen to operate at so low a resolution.
With such a fast CPU (SD845) I don't worry about scraping a small increase in performance out of my phone (and in my case my gain would be greater than what you are asking about).


text:
If I encode a video above source and then later do a final encode, will I lose extra quality vs the final encode directly?
I am very happy with my Handbrake settings for my final encodes but I have a video that needs to be edited first. I intend to use Vegas Pro to do this but the default encoding settings create terribly large files. I know I can experiment and find a closer bitrate to my Handbrake settings but I'd like to avoid this for simplicity. Can I still make a final encode with Handbrake without losing quality if I first encode at or above source?
Edit: My question is slightly different, I wanted to know about encoding first to a higher or equal to source bitrate and then re-encoding to a final bitrate. Based on my answer I got, it seems that unless you encode to lossless, some quality will always be lost.

Possible duplicate of Does repeatedly saving a video degrade its quality?

Why don't you try to set the desired render settings directly in Vegas?

@nwsp That's what I'm going to have to do. I wish there was an equivalent to Handbrake's constant quality setting in Vegas.

Yes, if you save your video in loseless codec. Unfortunately, this can produce very large files. Also you can try to find frameservers to avoid intermediate files, for frameservers was for older versions of Vegas, I don't know support of this feature in modern versions of Vegas.

source: Stack Exchange

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

sort: votes


text:
Inserting one or more Video s inside a video
I have a Video lets say LargeVideo.mp4 and I have 2 other small videos as SmallVideo_1.mp4 and SmallVideo_2.mp4. I want to insert the full SmallVideo_1.mp4 and SmallVideo_2.mp4  at 10th sec and 40th sec of LargeVideo respectively.
I'm using
ffmpeg -f concat -i concat.txt -c:v libx264 -crf 23 -fflags +genpts output.mp4

contact.txt is
file 'LargeVideo.mp4'
inpoint 0.0
outpoint 10
file 'SmallVideo_1.mp4'
inpoint 0
file 'LargeVideo.mp4'
inpoint 10
outpoint 40
file 'SmallVideo_2.mp4'
inpoint 0
file 'LargeVideo.mp4'
inpoint 40

The above code works perfectly fine in Windows, But I want to implement this in Android I have added -safe 0 also in android command but still it is not working
Android is as follows with the same contact.txt
String[] cmdConcatVideo = new String[]{"-f", "concat", "-safe", "0", "-i", inpCmdFile, "-c:v", "libx264", "-crf", "23", "-fflags", "+genpts", outVideo};

I don't know what I'm missing, Any help would be thankful.
--In android It is not failing it works but I'm not getting the desired output. The SmallVideos are not present in the output.

Share full log of failed command.

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


text:
remove wire on video
Can't see any other posts on this site about this which seems unusual so here goes.
I have a video in which a wire is used to pull an object from the scene.  I did a test which worked well, but the actual shoot didn't go so well, and I've tried several different methods to remove the wire without success.
This is the test video that I created. https://armorgard.box.com/s/bjfpc4mig8mssf8dw8zae0y65r8iu0qe

This just shows a toolbox flying into scene (video of it pulled out then reversed).
The wire was removed in rendering by masking out the wire in the video, then putting a still frame from the end behind the clip.

This is a piece of footage from the actual shoot: https://armorgard.box.com/s/z83yzn1yv85nbu35jgxfxotg76vsxyzs

Problem with this is the natural light affected the clip so you get a change in contrast and lighting throughout the clip.
When the wire is removed in the same way as the test footage, the clip behind is outlined in the mask due to the variance of colour.

See below image for an example of the colour difference around the mask.

I've tried a few ways to overcome this.

So the first thing I tried was to colour correct the still behind so that the colour and contrast reflected the masked clip above it.  Even using the lumetri scopes, it's difficult to do accurately and any additional color correcting can affect this adversely when it's not dead on.  To do this accurately would mean colour correcting almost frame by frame.
I tried a video as the plate, rather than a still, and slipped it a few frames ahead so that the tone closely matches the top video.  This is ok, but I get parts of the original scene showing through the mask that I don't want showing.  If I slip the background video more, the colours don't match up again.
I tried CC wire removal in After Effects, but due to the wire often being curved and not straight, this tool hasn't really worked.  It also seems to struggle with backgrounds that aren't plain.
I tried the content aware fill in After Effects, but this doesn't look great at all.
I tried opening the video directly in photoshop and using the healing tools to remove the wire frame by frame.  This works to some extent but do it accurately would be very tedious.

Do I have any further viable options?  Can anyone recommend anything that could work that I haven't already tried?

I solved this later but haven't ever posted my solution:
At the time, a frame by frame edit in photoshop using healing tools seemed the only way to clean up the wire used.  When I tried this however, you get a lot of artifacting that looks fine on one image but differs from frame to frame and creates a fuzzy blur as a video.
After some learning about the healing tools in After Effects itself, I found out that I could heal a frame using a previous frame:

Select the Clone Stamp Tool, but don't alt click or set any source points - this means the source point remains the exact centre of the brush.

In the paint panel, there is an option called "Source Time Shift":

When you increase this by +5, the source frame will be the frame that is 5 frames ahead of the one you are currently editing.  Depending on how quickly the object moves that you need to remove, you will need to tweak this.  For a fast moving object, offsetting the source frame by +/- 5 frames might be enough, but a slow moving object might need a frame from a whole second away or more.

From there, you can quickly move along frame by frame and paint over a moving wire to clean it out of the shot.  Occasionally there'll be a point that needs more attention but overall it seems the fastest and best way to do this.

Because my footage was tripod shot and was absolutely still, the walls and background didn't move, making it easy to brush out the wires.  In a moving shot this could still be achieved by just offsetting the source of the brush.

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


text:
Filter out calm parts of audio, let through really loud ones
I have a project where I have one video and two audio tracks. The first audio is from the line-in microphone, the second one is from the room environment.
I only want the second audio to play when the db level is above -5db (meaning, only when the track gets loud). The point is for the second audio to just provide the laughter (loud part) and ignore its calm parts, which just adds unnecessarily noise.
Is there an effect or a filter for this? (it's like a cutoff limiter at X db, but the opposite, cutting off anything below a determined level of volume)
Thanks!

Found it! From the [Adobe Premiere effects help][1]:

Dynamics effect The Dynamics effect provides a set of controls that
  can be combined or used independently to adjust audio. Use either the
  graphical controls in the Custom Setup view, or adjust values in the
  Individual Parameters view. This effect is available for 5.1, stereo,
  or mono clips.
AutoGate
Cuts off a signal when the level falls below the specified threshold.
  Use this control to remove unwanted background signals in recordings,
  such as a background signal in a voice-over. Set the gate to close
  whenever the speaker stops, thus removing all other sounds. The LED
  display colors indicate the gate’s mode: open (green), attack or
  release (yellow), and closed (red). Use the following controls for
  Gate: Threshold
Specifies the level (between –60 and 0 dB) that the incoming signal
  must exceed to open the gate. If the signal level falls below this
  level, the gate closes, muting the incoming signal. Attack
Specifies the time the gate takes to open after the signal level
  exceeds the threshold. Release
Sets the time (between 50 and 500 milliseconds) the gate takes to
  close after the signal level has fallen below the threshold. Hold
Specifies the time (between 0.1 and 1000 milliseconds) the gate stays
  open after the level has fallen below the threshold.
[1]:
  https://helpx.adobe.com/premiere-pro/using/audio-effects-transitions.html

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


text:
Switching from Adobe to Resolve
I want to switch from Adobe Pr to Resolve.
I downloaded it and now have some questions:

How can I put any of the windows (Timeline, Preview...) on another screen?
All in all the customisation seems very limited, which is kinda a deal breaker for me because I highly customise my programs. Do they plan to add this in the near future?
How can I zoom in the timeline? I only can zoom in and out and up and down. But I want to see all 10 Videos stacked on each other.

3. How do I make a video bigger? My Project is 4096x1716p and my Video 3840x2160 the video has black bars and if I zoom, it zooms inside the black bars and doesnt scale it up to project size

Do I need to go to Fusion for EVERY effect? Isn't there a Effects Windows like in Pr?

Thanks!

The customization options for window arrangement are limited in Resolve, compared to some applications.  The customization options are flexible enough to have your timeline on a second monitor, though.  To do this, under the workspace menu, check both Dual Screen-> On and Dual Screen-> Full Screen Timeline. To switch which monitor the timeline's on, go to Workspace-> Primary Display.
Your program monitor can be on either screen by switching which display is "Primary," also.   In the color tab, there are three options for how your program monitor is displayed; Cinema, Enhanced Viewer, or Full Screen Viewer.  These options are found under Workspace -> Viewer mode.  In the edit tab, there is no Enhanced Viewer, but you can get the same effect by closing other panels and using Single Viewer mode.
Besides having different panels open or closed, breaking out Scopes into a floating window (which you can drag to another monitor if you want to devote a monitor to scopes), resizing sections by dragging the divider between them, having tabbed timelines, multiple bin views, FCPX-like hover-scrubbing with strip or icon view and single view program monitor, or a more Premiere-like Source/Program,  there's not much more you can do to customize its layout.  You can't "skin" it like winamp.  You can't move panel positions relative to each other.  In short, everything you need to do your job is in there, with nothing superfluous.
Whether or not BMD plans to add these features is anyone's guess, but their development team is extremely responsive to user feedback on their forums.  They've implemented changes that I've recommended on multiple occasions (the thin red line designating panel focus with the 15.2 update was something I suggested.)

Command +/- is one way to zoom, alt/option mousewheel or two-finger drag is another, dragging on the +/- zoom slider is another.  If you want to adjust track height, so that you can see more stacked layers, click on the "timeline view options" icon in the center of the screen, next to the zoom slider.

There are multiple ways to scale in DaVinci, and a couple of points in the signal chain where the scaling might occur.  You've found edit scaling, but there's also project-wide scaling under Project Settings-> Image Scaling ->Mismatched resolution files.
Then under the color tab, there's input sizing, output sizing, node sizing, and reference sizing.  The order of operations for color page sizing is covered in chapter 119 of the user manual.

Probably not, depending on what kind of effect you're after.  Fusion is to DaVinci what After Effects is to Premiere, except it's built in, and it's node-based, so conceptually it's more like Nuke than AE.  But if you just need simple things like blurs, keys, object removal, lens flares, etc, you can find those things in the OpenFX tab of the color page, or the Effects Library tab of the Edit page.  You can also install any plugin that supports OpenFX.  Genarts Sapphire, BorisFX Mocha, and filmconvert are all popular.   Premiere supports effects presets and templates better at the moment than DaVinci, but Fusion integration is new, and this should change soon.

Forgot to mention that the best way to have your program on a separate monitor is to actually use a dedicated reference monitor and a video output device like the UltraStudio Mini Monitor.  This gives you an always-on, full-screen, accurate view of your program, and your other displays show all the UI elements.

Thanks for the detailed answer! Mhm. It may seem picky, but not having this customization is kinda a deal breaker for me. I highly customise my programs, I even go as far as programming my own scripts to cut editing time. Hope they will implement some more customisation. Do you have sepcific tips how to ask them? Like suggesting exact ideas? Or simply say that I'd lune some more customisation?

Oh.  I actually forgot to mention that scripting is an option.  Resolve supports Lua, Python 2 and Python 3.  You can find the API under the Help menu -> Developer documentation.  To do user interface stuff, you'll want to check out steakunderwater.com (don't ask me.  the Fusion guys have some funky domain names.) AndrewHazelden and Greg Bovine will be particularly helpful on this subject. For feature requests: https://forum.blackmagicdesign.com/viewtopic.php?f=21&t=71757

Found solution to 3.
Go to inspector in editing panel, to retime and scaling and put scaling to Fill.


text:
Clip Library Management
Over time, as I've taken on more and more work (as a theatrical AV designer), I've built up a large collection of stock clips from a wide variety of sources, which always come in handy for smaller designs.
So far, I've been keeping track of the clips by building a non-relational database that allows me to record the details of each clip - such as the title, source, licence, owner, description and so on. However, the collection has come to such a size now that adding more clips or searching through the library for something specific has become a bit of a chore. So, I'm wondering if anybody has any ideas regarding library management/archiving.
I'm reluctant to use file metadata due to the fact that the fields available vary with each codec and I'd like to keep track of some custom data (licence, etc.)
Is there any software available, maybe a video equivalent of Soundminer? Or do you have a recommended database schema that works for you?
Thanks in advance!
P.S. When using archive reels, do you prefer to save the whole reel or split into individual clips?

Mac or PC?  If you're on a mac, I'd suggest looking into openmeta.  The metadata gets stored in the spotlight database, not with the files, so codec doesn't matter.  Not sure what the windows equivalent is.

Just to be awkward, I tend to stick with Linux, and use Windows when I have to ;)

I'm not sure that it would be ideal, but Lightroom is able to provide keyword and cataloging support for a variety of video clip types.  It isn't expressly designed for it, but it's a relatively cheap option that may be able to handle your needs.
As stib was nice enough to point out, Adobe Bridge also can do similar cataloging if you have the broader Adobe suite or you can try using Darktable which is an open source package similar to Lightroom, though I have no direct experience with Darktable's ability to catalog video.

Adobe Bridge does a similar job, and is designed for video as well as other multimedia types. Also, if you don't want to shell out for Lightroom or you like FOSS, darktable is an open-source alternative: http://sourceforge.net/projects/darktable/

Lightroom will store the keyword/caption information in the Lightroom Database, but won't write out xml sidecar files for anything but image formats.  It's not ideal.  Bridge will not write sidecar files for mp4 format either.


text:
Running ffmpeg WITHOUT editing path variable
So I'm a long time user of ffmpeg, and I know perfectly well how to install it for command line use using the environmental variable editor.
What I want to know is how to run ffmpeg by directly addressing the .exe file.
I want to do this is so that I can pass someone a folder containing ffmpeg and a batch script and just tell them to double click the .bat file to perform a certain action (like converting mkv to mp4) using the copy of ffmpeg that is in that folder. Effectively, I want to make it portable.
The reason for this is that less technical users are not confident/comfortable with changing environmental variables.
I expected that the batch script would work something like this:
%~dp0\bin\ffmpeg.exe <ffmpeg command here>

instead of the usual
ffmpeg <ffmpeg command here>

but this doesn't seem to work. The code crashes before the "pause" command (i.e. on hitting the "if" statement)
@echo off
setlocal enabledelayedexpansion
REM cycle through files
for %%a in (*.mkv) do (

    set b=%%a
    echo !b!
    REM only do files without "_mod" in file name.
    REM (This works by seeing if replacing any "_mod.mkv" with ".mkv" results in the same file name as no action)
    if "x!b:_mod.mkv=.mkv!"=="x!b!" (
        pause
        REM Export the subtitles (Note that these must be 'ass' format subtitles)
        %~dp0\bin\ffmpeg.exe -i "%%a" -map 0:s:0 -y "Temp.ass"
        ...

This doesn't occur with just "ffmpeg ___".
Any suggestions? I'd ideally like to avoid changing the current directory as I'd like to keep the top level folder clean of everything except the batch script and the files to be converted.

this doesn't seem to work --> what happens?

@Gyan Just edited the post to contain more info

I solved it. Silly me.
Turns out you have to use quotation marks around the file path.
"%~dp0\bin\ffmpeg.exe" -i "%%a" -map 0:s:0 -y "Temp.ass"

not
%~dp0\bin\ffmpeg.exe -i "%%a" -map 0:s:0 -y "Temp.ass"


text:
How to deinterlace GRAY video and convert it to .avi?
I have binary data stream from analogue camera and convert it to .avi with this
λ ffmpeg -f rawvideo -pix_fmt gray -s:v 700x220 -i orbita_d.bin -c:v rawvideo -pix_fmt yuv420p out.avi
what do I need to deinterlace it? I read about yadiff, but it looks like it doesn't work with raw pixel data.

yadif, by default, relies on frame signaling to determine whether and how to deinterlace. A raw stream won't have those details, so you have to manually set them.

ffmpeg -f rawvideo -pix_fmt gray -s:v 700x220 -i test1.bin -c:v rawvideo -pix_fmt gray -vf tinterlace,setpts=0.5*PTS out.avi
Do the trick for me.


text:
Is it possible for the viewers to get rid of the 60FPS fast forward effect?
Since I and Everyone else watched too many 24/30FPS throught our lives, whenever We see 60FPS or faster motion picture we feel like its fast forwarded thus makes it terribly unnatural.
I want to shoot some 60FPS movies but I am afraid of the audience unconciously disliking my movies (due to the movies feel anormal) so the question is: In the future where 60FPS (hopefully) gets more and more into the Youtube videos, will the current generation and future teenagers get used to the 60FPS video and thus the movies wont feel fast forwarded and anormal ?
In Short:Is it possible to get used to the 60FPS video so it wont feel fast forwarded?

60 fps does not look like "fast forward". It simply looks natural. It breaks the old-school film look, so people start paying more attention to what is happening on the screen, including acting and dialogs. A crappy movie, barely watchable in 24p, falls apart when interpolated to 60p or 120p by modern TV sets. Just shoot better movies ;)
By the way, for quite a long time in the U.K. they used movie cameras for shooting outside on location, and TV cameras for shooting inside on the set, so for the British "film look" used to mean outside, "smooth look" used to mean inside.

Worth noting that TV was always effectively 50 fps (in Britain / PAL countries, 60 in US), because it was interlaced. So you had two fields per frame, where a field was half the resolution of the frame. Hence the smoothness of TV.

@stib This does not really matter, because movies are telecined for TV, so their temporal feel is preserved. Well, mostly preserved, because in Europe it is 4% faster, while in the U.S. movies exhibit characteristic judder caused by 2:3 pulldown. The "soap opera" effect seen on many modern TV sets is caused by the set interpolating missing frames, not simply repeating them as in the usual telecine process.

@RustyCore why don't they use the "traditional" telecine process? What is the time requirement difference?

@JonathanIrons The "soap opera" effect can be turned off on most (all?) of the TVs that have this option. I guess, we are moving to faster fps, leaving 24fps behind. Also, they say that 24fps is too jerky for 3D.

True for movies, and almost all footage shot these days. Only really applies to footage that was shot on video.


text:
What happened to the 3CCD camcorders?
Back in the day they were everywhere [There was even a handheld Panasonic one!] but today they dont exist at all?
I can't find any 3CCD camcorders with SD card video recording because I don't want to fiddle with Mini DV
What happened? Are there any Full HD or 4k 3CCD camcorders these days?
Looks like the ugly CMOS replaced them...

"The ugly CMOS replaced CCD" because of cost, complexity, power consumption, pixel density, light sensitivity, etc. In every regard — except of the rolling shutter artefacts, of course — CMOS sensors are better. They also do not exhibit the saturation trail effect, the vertical "ray of light" that occurs when pointing a CCD camera towards very bright light source.
You can find a 10-year old tapeless 3CCD-based camcorder on eBay for less than $100. For example, Panasonic HDC-SD5 or HDC-SD9, the latter records progressive HD at 24 fps. Better than Super8 ;-)

ah my the way. Not so related but does new CMOS sensors have the same dynamic range etc of their CCD ancestors?

Everything is better aside of nasty rolling shutter artefacts — jello, skewing, flash banding.


text:
What is the good video equveilent of 1300D?
I was surfing the net and I found this answer.

Bottom line with the canon rebel series cameras is that the video is
  pulled from a low resolution capture of the chip which is normally
  used for high resolution photos. The photos from these cameras will
  resolve many thousands of lines but the video compression chip in the
  camera cannot deal with these in real time so they just grab the image
that goes to the rear LCD screen.
This image is achieved by throwing away the high res photo lines (or
pixels), this is called binning (discarding). This makes high contrast
  edges very aliased or have a stair stepped effect. To fix this Canon
  soften or blur the image to make it more acceptable. Guess what, all
  of this results in a video image that ends up resolving at about 480
  vertical lines or standard TV resolution 'not' HD resolution. So no
  amount of sharp lenses or post sharpening will ix the matter. The soft
  is baked in

So my question is. What is the cheapest Canon DSLR that doesn't do the crappy "use the LCD viewfinder feed for video capture" stuff but properly records video?
The brand must be Canon
Sensor size must be at least APSC .
The camera must have GPS and WIFI along with an hot shoe.
I don't want something from the last decade and the camera must be max 5 years old.
Budget is not yet decided but will be properly low and second hand is a big possibility.
I want to be flexible and change lenses as I wish also I will shoot all photos in the smallest aperture ppssible because I believe every photo should contain max information and art should be done in the photoshop.
I Will probably just shoot photos but I am interested in shooting videos and probably turning the camera to an makeshift go pro.

Ypu need to br more specific here. Whats your budget? Do you soley want to shoot video or take photos too? Do you want interchangable lenses? Bokeh?...

@TimothyLukasH. I didn't buy [force my parents] a DSLR yet. Although photography is my main concern ı want to shoot video too. One more thing. I found the question about the crappy video on DSLR and the question will be edited soon.

@TimothyLukasH. Complete rewrite done...

Well, you are asking for a lot of things here.
I'd guess the best option would be a Canon M50, it is not a DSLR camera, but the industry tends away from DSLRs anyway.
It can shoot good 4k footage, is new and also shoots good images. You can get it with a double lens kit for around 900$. You can also adapt it to Canon EF.
She has Connectivity to your phone and as far as I understand GPS over your phone. So no GPS if you ain't connected to it.

smallest aperture ppssible

I'd guess you're refering to the physical size, so biggest possible aperture number.
I wouldn't suggest that, as many lenses lose sharpness and get color aborations at over F/11.
But this should give you enough DOF anyways.
If you are not satisfied with a mirrorless camera and want for what ever reason to have a DSLR, just write me a comment.

Absolute minimums I need are wifi\gps\interchangeable lenses\as the bold lines in the quotes area. A dslr that doesn't use the LCD viewfinder video trick that's all I need.alsp all I need is 1080p video. The gps over the phone is cool but I thinl it's a good idea to have GPS embedded to the camera itself. Thanks for the mirror less recommendation by the way.

The M50 has all the features you want besides the GPS, but as I said it has a work around. I guess it's the best investment for Canon in the below 1000$ mark currently.


text:
How do you make video look natural?
I want the videos that I will shoot to feel natural and I don't know what I have to do.
The research I did in the internet says aperture of our eyes are around F/8 in bright conditions and around F/2 in the dark so what aperture should I use for realistic depth of field? .
As far as I learned. The filmmakers use the shutter speed of 1/48 for 24 FPS movies and these movies feel natural to my eyes so what shutter speed I should use?
I have read any FPS can be received by the eye but for some reason. Every 60 FPS video I have ever watched in my life feels like plastic fruit and the internet says it's because we got used to the low FPS moviesthrought our lives do what FPS I should use?
Bit irrevelant but I did some research and it points out the classic 4:3 aspect ratio is actually closest to our vision so should I shoot in 4:3 aspect ratio?
So what is the best way to get that "realistic and natural feeling" in the videos with a 30 FPS APS-C camera?

What is the relation between 30 fps and PAL? Make the question more coherent and put spaces, commas and periods in the right places.

@RustyCore when I was searching why 60 FPS videos was feeling anormal. The answers were about how we used to the videos around 24 and 30 FPS and I think its the reason why anything above 30 FPS feels so anormal. The only source I have is a commie site named quora.

You pretty much found it out yourself.
Use 24FPS, 1/48, Aperture around f4. (Depending on your sensor size)
You really can't get a 1:1 look as our eyes have a diffrent way to see the world than a camera. But those settings will feel natural when used right.
Also think about how you film, many people say shoulder rigs feel the most natural as you have a slight wobble.
For me shoulder rig + lens stabilizer has done the job.
Then, keep in mind how the scene looked so you can match the colors.

Can you give me a chart for aperture size and sensors?

Also is it possible to make two cheap DSLR 3d camera by putting them next to each other? I am planning to buy 1300D if that helps.

It is pretty simple. The smaller your sensor (Going biggest: FF-> APS-C -> MFT smallest) the less depth of field you'll get. But I'd guess for most sensors f4 will do the job. BUt you could go for shallower DOF, for example F2.8 as we don't really persieve DOF the same as a camera.

Not directly. For real/good 3D the cameras need to move apart from each other, so you would need a rig that could do that. Otherwise the 0 Point will allways be at the same position which won't look natural. Generally tho, 3D doesn't really make it look/feel more natural.


text:
What is the file size difference between 8 bit and 10 bit raw video?
How much color information does a 8 bit pixel need compared to an 10 bit pixel? What is the difference. As an example how much file size would an single 640x480 frame take if had 10 bit color instead of an 8 bit colour

This question doesn't really make sense. The file size is a function of the bit rate, not the bit depth. What makes more sense is to compare the quality of different bit depths at the same bit rate.

@MichaelLiebman so what bitrate someone have to use to get same quality they would get in 8 bit fpr a 10 bir video? Either wqy ypu jabe tp comprise blockiness or colour depth anyway right?

@JonathanIrons Please try to avoid spelling mistakes/misstypes. 10bit uses as the name implies 10bit/channel compared to 8. So for RAW, uncompressed 10bit compared to 8bit you would need 1.25x more space. But most codecs use compression etc. which doesn't make it that easily comparable

I fixed it people.

Instead of 8 bits per every channel and per every pixel you need 10 bits, which is 25 % increase of the raw footage.
Since the size of 8-bit raw footage is as such huge enough, 25 % of it is high enough price, isn't it?

Why would recorded video need alpha channel?

For the recording it has no meaning, you're right. But for storing/processing the main schemes use it nowadays. The reason for it is the compression: the alpha channel — if it's not used — practically don't increase the size.

Can you give me an 1 sec 30 fps 4K video example? My math doesnt hold up nicely.

64 × 4 K = 256 K for the recording, 256 × 4 K = 1 M for storing/processing. Of course, it's true only for raw (uncompressed) videos.

This is simply incorrect. A file with 10 bits per pixel would be only 1.25 times bigger than an 8 bit per pixel file. As mentioned above compression would make it somewhat inexact. The 64 and 256 factors mentioned in the answer are relevant to the number of possible colors for each pixel, which grows at 2^n, were n is bits per pixel. File size is proportional to n.

@CarlRaymond I knew it!


text:
How can I find duplicate videos by content
I have a lot of video files but also a lot of duplicate with different encoding differences (eg 720p and 4K versions). I wasn't able to find an open source solutions. I tried a Windows paid program who did half the job.

That looks really useful. You might want to edit your question to take out the answer and then answer your own question.

I managed to answer it by creating an open source program around ffmpeg and findimagedupes. Feel free to try it : https://github.com/PierreCrette/VideoDedup/blob/master/README.md

In fact, there are mostly 3 software for finding duplicate videos.

Video Compare https://www.video-comparer.com
Duplicate Video Search  https://duplicatevideosearch.com
Duplicate Media Finder (my favorite) https://duplicate-media-finder.kdo-rg.com

All of them use fingerprints.

You could check out https://theophanemayaud.github.io/video-simili-duplicate-cleaner/ (macOS and Windows binaries available)
It's open source, created with QT and relies on ffmpeg.
The idea is to extract a few (eg 2, the first and the last) frames, and compare them. If the duration is close, and the frames look similar : you've got a duplicate.
It uses opencv for frame comparison, and ffmpeg for frame extraction (ffmpeg is also for video metadata which is very useful when trying to tell which video to keep !). Since it's open source, you can improve it to fit your needs !


text:
What is the correct aspect ratio to publish video for broadcast television
I recently had an opportunity to publish video for broadcast television. I need to know what the correct aspect ratio is to publish video to the broadcaster. U.S. television broadcast. I have not received additional information of what the specifications are for the videos just yet. I'm just trying to be one step ahead. Thanks.

Welcome! What country? What broadcaster, if you can share that? What is the material: a program that the broadcaster commissioned, paid long form programming, or a short form interstitial like a commercial or PSA? Did they send you a spec sheet? Did you request a spec sheet if they haven't sent you one already?

Ask for the specs from your broadcaster. When HD was still a thing, the requirements were quite strict for HD, like at least 50 Mbit/s, usually 4:2:2, usually 29.97 fps interlaced or 59.94 fps progressive. Nowadays, when "HD" is being broadcast at as low as 5 Mbit/s, who cares?

Please provide more information as commented by @MichaelLiebman
But default would be:
30FPS, 16:9 (1920x1080, 1280x720) either Progressive or interlaced.
Mostly you'll need 4:2:2

1080p isn't commonly accepted, at least for paid programming or commercials in the US, and 720p is usually only accepted by ABC and Fox affiliates. But 1080i29.97 with a 4:2:2 profile is a good guess.

Yeah, as Michael already pointed out, I'd certainly expect 29.97 rather than 30 fps.  The old color pulse timing is still hanging out with us, just like the power oscillation.


text:
Automatically create 2d map from a video
Is there a software which can generate a 2d map which shows the position of the walls based on a video where I film the interior of a room?

We can't help you here as we don't have enough information. Please add details of what exactly you want to do, with which software and what the input and output is/should be. Also add more descriptive tags

like google creates its maps, out of videos

This is still not enough information. Do you want to create an 3D map as on google earth? Do you want to create a flat map of where the walls are? Or do you mean Google StreetView? Google doesn't create maps based on google Street View footage (Although they enhance it) Google Maps is made with satalite imagery.

I see what you mean, sorry about being so ignorant.. I would like to create a 2d map of the walls by inputing just a video and no gps position or anything else.

Great, thats the information we needed. Well, there are software which can do this. One of the swiss universitys in zurich showed such a system two years ago and about all selfdriving cars have such a feature. But often, they use more than one camera and often also lasers. So I am not sure if there is a not very expansive software which can do this. But maybe with the edit someone can help you


text:
How to use Avisynth+AvsP with VirtualDub frame server?
I'm trying to improve some VHS-C home video recordings for my mother. I used VirtualDub to capture the recordings as avi files and now I wish to modify them with Avisynth but I can't get the frame server function to work. Has anyone got the VirtualDub frame server connection with Avisynth working in Windows 10?
I've tried this with the latest versions of VirtualDub, Avisynth, and both AvsP_v2.0.2 with bugfix3 and AvsPmod. Also, I've tried it with VirtualDub_1910.exe, Avisynth_258.exe, AVSPluginPack.exe and AvsPmod_205.exe from AnimeMusicVideos.org (AMVapp31.zip). I'm using Windows 10 64-bit however I've only downloaded 32-bit version software and codecs because that seems to be the generally recommended route. (Is the AVSPluginPack necessary? If so, is there somewhere other than AMV that maintains it?)
In VirtualDub, I open homevideo.avi, "Crop to selection" for a desired range of frames and then File > Start frame server... and name the Avi-File Handler video.vdr.
In AvsP and AvsPmod the commands:
video = AVISource("c:\VHSC\video.avs")
return video

where video.avs is a file that contains only the line AviSource("c:\VHSC\video.vdr")
produce the error message:
Avisynth open failure:AVIFileSource: couldn't open file 'c:\VHSC\video.vdr'
(C:\VHSC\video.avs, line 1)
(New File, line 1)

However, replacing video.avs with homevideo.avi does display the frames in the AvsP/mod window.
I've seen this similar question AviSynth can't open my AVI file: "AVISource: Couldn't locate a decompressor for fourcc dvds". The virtualdub website < http://www.virtualdub.org/docs_frameserver.html > says "Use the AVISource filter. DirectShowSource is unreliable". I've tried both.
To capture the VHS tapes in VirtualDub I followed a YouTube tutorial, which involved the following steps:
Downloaded and install Virtual Dub + Lagarith codec
File > Capture AVI
File > Set capture file[name]
Device > [chose my capture device]
Video > Video source > [chose the source]
Video > Capture filter > PAL_B
Video > Compression > Lagarith
-then in Configure > [mode=]YUY2;
-Checking both Use Multithreading and Prevent Upsampling When Decoding.
Video > Set custom format -- settings: 820 576 YUY2*
(*actually set as UYVY [the default setting] because YUY2 is not compatible with my capture device)
Capture > Settings > 25.0
At the bottom of the capture window -- selected 44.10 kHz, 16 bit, Stereo
Start: Capture > Capture video
End: Capture > Stop capture

Did you install the frameserver support with auxsetup.exe? You can test if it is working by trying to open your video.vdr with another instance of virtualdub.exe.
From your description it doesn't look you really need the frameserver. You can trim the video with avs itself (e.g. Trim(100,200)), this is more robust and efficient.
Btw did you know there is active avisynth community on forum.doom9.org, forum.videohelp.com


text:
Help decoding video from hardware encoder
I obtained this video from directly reading the memory of a hardware encoder. The encoder supposedly produces a HEVC (H.265) or H.264 video stream, but I can't accurately play or convert the file with ffplay or ffmpeg.
Given the information below, is this something I might be able to play correctly? Is it incomplete data, and something more may be needed to reconstruct the video?
Link to the file I'm trying to play.
This is what ffmplay is producing when trying to play the file. It's possible to view the outlines of the actual recorded objects. Seems like information about the pixels that change? That would be something to be expected from a H264 or H265 stream...
ffplay -f rawvideo -video_size 1920x1088 -framerate 5 -pixel_format yuv420p stream.bin

And this is a sample of the actual recorded footage, for comparison purposes:

When I try to play it using ffplay, no arguments:
$ ffplay stream.bin
[NULL @ 00000183f45bee20] [IMGUTILS @ 0000001b95bfef00] Picture size 1280x5222400 is invalid
[bin @ 00000183f45ac600] Failed to open codec in avformat_find_stream_info
[bintext @ 00000183f45bee20] [IMGUTILS @ 0000001b95bfedd0] Picture size 0x0 is invalid
[bintext @ 00000183f45bee20] video_get_buffer: image parameters invalid
[bintext @ 00000183f45bee20] get_buffer() failed
[bintext @ 00000183f45bee20] reget_buffer() failed
[bin @ 00000183f45ac600] Stream #0: not enough frames to estimate rate; consider increasing probesize
[bin @ 00000183f45ac600] decoding for stream 0 failed
[bin @ 00000183f45ac600] Could not find codec parameters for stream 0 (Video: bintext, pal8): unspecified size
Consider increasing the value for the 'analyzeduration' and 'probesize' options
Input #0, bin, from '238F.bin':
  Duration: N/A, bitrate: N/A
25 tbn, 25 tbc0: Video: bintext, pal8, 25 tbr,     nan    :  0.000 fd=   0 aq=    0KB vq=    0KB sq=    0B f=0/0
[bintext @ 00000183f45bf7c0] [IMGUTILS @ 0000001b95dff340] Picture size 0x0 is invalid
[bintext @ 00000183f45bf7c0] video_get_buffer: image parameters invalid
[bintext @ 00000183f45bf7c0] get_buffer() failed
[bintext @ 00000183f45bf7c0] reget_buffer() failed
    nan M-V:    nan fd=   0 aq=    0KB vq=    0KB sq=    0B f=0/0

Trying to force H265 and H264:
$ ffplay -f hevc stream.bin
[hevc @ 00000130c4fe6e60] Invalid NAL unit 0, skipping.  0B f=0/0
[hevc @ 00000130c4fe6e60] Invalid NAL unit 0, skipping.  0B f=0/0
    Last message repeated 5 times
    Last message repeated 5 times
Invalid NAL unit 8, skipping. nan    :  0.000 fd=   0 aq=    0KB vq=    0KB sq=    0B f=0/0
[hevc @ 00000130c4fe6e60] Invalid NAL unit 0, skipping.
    Last message repeated 1 times
[hevc @ 00000130c4fe6e60] Invalid NAL unit 0, skipping.  0B f=0/0
    Last message repeated 1 times
    Last message repeated 1 times
Invalid NAL unit 24, skipping.nan    :  0.000 fd=   0 aq=    0KB vq=    0KB sq=    0B f=0/0
[hevc @ 00000130c4fe6e60] Invalid NAL unit 0, skipping.
    Last message repeated 2 times
[hevc @ 00000130c4fe6e60] Invalid NAL unit 0, skipping.  0B f=0/0
    Last message repeated 4 times
    Last message repeated 4 times
[hevc @ 00000130c4fe6e60] missing picture in access unit 0B f=0/0
(...)

$ ffplay -f h264 stream.bin
[h264 @ 0000022a70567080] non-existing PPS 1 referenced  0B f=0/0
[h264 @ 0000022a70567080] data partitioning is not implemented. Update your FFmpeg version to the newest one from Git. If the problem still occurs, it means that your file has a feature which has not been implemented.
[h264 @ 0000022a70567080] If you want to help, upload a sample of this file to ftp://upload.ffmpeg.org/incoming/ and contact the ffmpeg-devel mailing list. (ffmpeg-devel@ffmpeg.org)
[h264 @ 0000022a70567080] slice type 22 too large at 1
[h264 @ 0000022a70567080] decode_slice_header error
[h264 @ 0000022a70567080] non-existing PPS 2 referenced
[h264 @ 0000022a70567080] decode_slice_header error
[h264 @ 0000022a70567080] no frame!
[h264 @ 0000022a70567080] non-existing PPS 2 referenced
    Last message repeated 1 times
[h264 @ 0000022a70567080] decode_slice_header error
[h264 @ 0000022a70567080] no frame!
[h264 @ 0000022a70567080] non-existing PPS 0 referenced  0B f=0/0
    Last message repeated 1 times
[h264 @ 0000022a70567080] decode_slice_header error
(...)

EDIT
There's another dump I'd like you to take a look at: link to file.
ffplay -f rawvideo -video_size 1920x1088 -framerate 5 -pixel_format yuyv422 -vf scale=320:-1 0x239F.bin

And the correct image, for reference:

The file is definitely not h264 or h.265. It is an uncompressed format of some kind.

Ueah, this is raw raster. You'll need the correct frame size and pixel format..

@SlimSCSI, Gyan, I edited the question to add a new file, that seems to have another format. Would you mind taking a look? Thank you.


text:
How to capture / digitise a live satellite stream
I have coordinates, descrambling codes, et al for a live satellite broadcast.  I'm looking to capture that feed into a digital stream that I can feed into AWS's Video services.
My experience is software side - once the stream is digital I'm good. I'm wondering what kind of equipment / hardware is needed to tune to and capture that satellite feed? Are there companies that offer this as a service? Is this a dumb question?
Thanks!
Adding Some more context based on questions in the comments
Is the feed on a LEO, MEO, or GEO satellite? If it is GEO, which satellite and transponder?
It is GEO. Azerspace-1 / Azercosmos 46degrees East.  Not exactly sure what transponder but I think its C-band. Does that make sense? I have frequency ranges for Bandwidth,  U/L and D/L.
What is your budget?
TBD - Part of this exercise is determining costs to capture the feed.
When you say "once the stream is digital" what exactly do you mean? Once you have an MPEG TS or something else?
Exactly that - I'm looking to get an MPEG TS that I can plug into AWS services like https://www.elemental.com/products/aws-elemental-live

Welcome! Is the feed on a LEO, MEO, or GEO satellite? If it is GEO, which satellite and transponder? What is your budget? When you say "once the stream is digital" what exactly do you mean? Once you have an MPEG TS or something else?

Thanks for the poignant questions @MichaelLiebman - I've edited my original post to add more clarification

It looks like most of the content on Azerspace-1 is "in the clear", or not encrypted, which makes things easier. But there is still a lot of "it depends" for exactly what equipment you need. Aside from all of the earth station equipment (dish, LNA, down converter, etc.), you will need a DVB-S2 or MPEG-4 receiver. That could be a vanilla receiver with an external encapsulator or gateway.
There are definitely companies that provide teleport and satellite media services. I'm not familiar with Azerspace-1's footprint to give concrete recommendations. However, two examples of companies that might be appropriate are Intelsat (Fuchsstadt teleport) and Encompass.


text:
Difference between 10bit 4:2:2 and 10bit display panels
I'm a bit confused regarding color in bits.
I know of two color "types":
Many more expansive displays offer 10-bit panels with 1 billion, instead of 16 million different colors.
Better video cameras use 10-bit 4:2:2 subsampling to save storage space by only giving 4 color values, for 8 pixels.
Are those two different types of color-types?
Or how does one translate to the other?
Thanks!

The bit depth and the sub-sampling method are related but different parameters of the imaging system. As you noted, the bit depth determines how many different colors the system can display. The more colors that can be imaged, the closer to reality the image looks. You also get fewer quantizing artifacts.
The sub-sampling method is a form of compression. Human vision is less sensitive to colors than it is to luminance, or black/gray/white, information. By only sampling some pixels for color, the system saves data by trading off some resolution.
(You should note that the "better film cameras" you reference in your question probably use 4:4:4 sub-sampling and better/professional video equipment use 4:2:2.)
You can have any combination of bit depth and sub-sampling. So a system can be, among other possible configurations:

8-bit 4:2:2
8-bit 4:4:4
10-bit 4:2:2
10-bit 4:4:4

I interpret the question to be: What's the difference between 10-bit cameras which designate 422 subsampling vs 10-bit displays which do not specify a subsampling method.  As such, I feel like a complete answer should address the display side of the signal chain.  I couldn't actually find much information on this, but I think that displays don't care if you send them 420, 422, or 444.  I think that the display upsamples whatever chroma you give it, and never downsamples what you give it, so id doesn't make sense for display manufacturers to even mention it.  I'm totally guessing, though.

Thank you very much! I allways just saw 10bit 4:2:2 so I thought it must be 10bit to display 4:2:2 and 12bit for 4:4:4 :) With the display I can avtually answer myself, displays mostly do not subsample and display 4:4:4 color, and everything below. But there are (mostly) TVs, which do not accept 4:4:4 to achieve higher Framerates. Most games for example also don't outpur full color

I think what I mean is that the TV isn't just going to not display color on half of its pixels, so it's going to spread chroma info to neighboring subpixels wherever it needs to, depending on the kind of signal it's receiving.  That's what I mean by upsampling.

To use a more accurate term, the display or a processor before the display will decode a 4:2:2 (or even 4:4:4) signal back to the native format that the pixel array requires. There are other steps, like converting the color difference signals back to RGB, too.


text:
How to split video in small clip?
I'm trying to split a video (50-100Mo) into several small clips of a few seconds each. I don't need re-encoding, hence my use of codec copy.
However some of the resulting clips don't have any video.
Fast but no video in some files
ffmpeg \
  -y \
  -i ./data/partie-1:-Apprendre-300-mots-du-quotidien-en-LSF.jauvert-laura.hd.mkv \
  -ss 0:00:07.00 \
  -codec copy \
  -loglevel error \
  -to 0:00:10.36 \
  'raw/0:00:07.00.au revoir.mkv'

I also tried -map 0 -c copy, -acodec copy -map 0:a -vcodec copy -map 0:v or no option related to codec.
Slow but complete
No argument related to audio/video encoding, it's working but pretty slow.
ffmpeg -y \
  -i "$SOURCE_VIDEO_FILE" \
  -ss 0:05:37.69 \
  -to 0:05:40.64 \
  -loglevel error
  'raw/0:05:37.69.pas la peine.mkv'

Question
How do I split a video into small chunk ~2-4s when I have no need for re-encoding?

General speaking, you can not split already encoded video into some chunks with arbitrary length without re-encoding.
The simplest way to make a cut is to get content between IDR frames. You could split your video sequence into segments that contain arbitrary number of GOPs (sequence of frames starting with IDR frame with length to next IDR) each. In this case, you could just copy the content without re-encoding.
So, you goal is to find out appropriate IDR frames, that satisfy you clip duration, and make a cut with copy. You lucky ffmpeg use -noaccurate_seek for copy. You could point start position by -ss and duration with -to near IDR.
You could face some challenges here:

original video sequence has a variable GOP length - clip duration
won't be the same;
original video sequence has an infinite GOP
length (only first frame is IDR) - impossible to split it without re-encoding;

In your example you should move -ss and -to options before -i, because you want to seek start position in the input video.

Moving -ss and -to options before -i throws an error:
ffmpeg -y -ss 0:00:16.10 -to 0:00:19.11 -i ./file.mkv -acodec copy -vcodec copy -loglevel error 'raw/output.mkv': Option to (record or transcode stop time) cannot be applied to input url ./file.mkv -- you are trying to apply an input option to an output file or vice versa. Move this option before the file it belongs to.


text:
ffmpeg vp9 encoding settings to produce "yuv420p(tv, progressive)"
I have a webm video that was made (from an h264) using AWS Elastic Transcoder, using the "System preset: Webm VP9 720p" preset.
For this file, ffprobe gives:
$ ffprobe converted-mp4.webm

<snip>

Input #0, matroska,webm, from 'converted-mp4.webm':
  Metadata:
    title           : 1024 x 768 30 fps Photo JPEG 75% - https://archive.org/details/VideoTestFiles
    encoder         : Lavf57.71.100
  Duration: 00:00:16.00, start: 0.000000, bitrate: 743 kb/s
    Stream #0:0: Video: vp9 (Profile 0), yuv420p(tv, progressive), 640x480, SAR 1:1 DAR 4:3, 30 fps, 30 tbr, 1k tbn, 1k tbc (default)

Note the yuv420p(tv, progressive) in the last line.
I am trying to replicate as best I can the same encoding using ffmpeg, but I cannot workout how to get the progressive bit.
e.g.:
$ ffmpeg -i 1024X76830FpsPhotoJpeg75.mp4 -pix_fmt yuva420p -c:v libvpx-vp9 video.webm

...

$ ffprobe video.webm

<snip>

Input #0, matroska,webm, from 'video.webm':
  Metadata:
    title           : 1024 x 768 30 fps Photo JPEG 75% - https://archive.org/details/VideoTestFiles
    COMMENT         : license:http://creativecommons.org/licenses/by/4.0/
    MAJOR_BRAND     : isom
    MINOR_VERSION   : 512
    COMPATIBLE_BRANDS: isomiso2avc1mp41
    ENCODER         : Lavf58.20.100
  Duration: 00:00:16.00, start: 0.000000, bitrate: 158 kb/s
    Stream #0:0: Video: vp9 (Profile 0), yuv420p(tv), 640x480, SAR 1:1 DAR 4:3, 30 fps, 30 tbr, 1k tbn, 1k tbc (default)
    Metadata:
      alpha_mode      : 1
      HANDLER_NAME    : VideoHandler
      ENCODER         : Lavc58.35.100 libvpx-vp9
      DURATION        : 00:00:16.000000000

For context, I am trying to work out why the AWS Elastic Transcoder produced file is behaving properly in some downstream processing (either rendering frame-by-frame in a browser, or another encoding/conversion step). In the ffmpeg version, frames are being duplicated/repeated.
For what it's worth, I have tried messing with the key-frame interval (AWS version has key-frame every 90 frames) but that didn't make a difference.
The progressive or not property is one difference I can find between the two files. There's also the encoder version but not sure how that would cause the different behaviour`.
Edit: this property is not what's causing my downstream issues, nevertheless, I'd be interested to know more about it.

So my actual problem is to do with how I made the (problematic) video. I did it from a PNG frame sequence. When I run ffprobe -i video.webm -show_frames -select_streams v:0 -print_format flat | grep pkt_pts= on it, I get:
frames.frame.0.pkt_pts=0
frames.frame.1.pkt_pts=33
frames.frame.2.pkt_pts=67
frames.frame.3.pkt_pts=133 <- this is wrong and should be 100


text:
Convert video files to supported formats and with correct codec to reproduce on Epson projector
I have the EPSON EH-DM3 projector and it supports the following formats only:

and here are more specific info:

now I'd like to be able to reproduce my videos on it by simply converting them before reproducing on the projector.
I use Linux, what command could I use to convert a video?
I think I should re-encode any video to .avi right?
Is there a general command I can use for all my video files and that does not required too much time to convert?
I tried:
ffmpeg -i input.mp4 -profile:v mpeg4_asp -vf scale=720x576 output.avi

but the projector keeps saying Codec is not supported when entering the USB drive and trying to reproduce the video.
Thanks a lot!

Share the full command and log.

hi @Gyan, what log do you need? The error I get is from the projector not from the ffmpeg command

Have you tried other profiles, or lowering the bit-rate? Also depending on your source material you may have to check your pixel format—use -pix_fmt yuv420p to make sure.

The log has details about the input as well as the various choices ffmpeg makes. This can help to diagnose.

@Gyan no matter what video I convert, I just don't understand from those specifications what type of codec / bitrate etc... I need to set to ffmpeg in order to make the projector read it, that's why I'm asking to more expert people about the topic


text:
How to mute monitors automatically
When on the radio I want the studio monitors to mute automatically when I open the mic (normal radio station stuff) so there is no feedback. I have read that some boards do and some don't but I can never find this info when reading descriptions. How can I achieve this?

Hi Antwen - I have removed that one sentence asking for a recommendation on specific mixer desks to focus on the wider question of how to do this.

You should be able to find monitor muting as a default or configurable setup on most radio consoles. Make sure you looking at sound boards that are specifically marketed as radio consoles. Something like this Wheatstone Audioarts analog console or this Lawo digital console. If not specifically called out in the features, you can also look for consoles that can trigger on air lights, as those contact closures can also be used to mute the monitors with some simple, inexpensive outboard gear. A Mackie or other inexpensive all purpose audio board isn't likely to have either feature.


text:
How do you automatically add text from a file?
I recently created a video which has associated data. Like position, altitude, direction in another file. I know the time offsets for each event and would like to put this data into the video as text. Is there a way without changing the video text areas manually?
Thanks in advance,
Gregg

Dashware is an (free) app which does just this.

Telemetry Data Overlay on your Videos
Easily display GPS, vehicle, physiology, and environment data from
smartphones and dedicated loggers.

Besides CSV text files, it imports data from many formats. You don't have to render the final composited video from Dashware. You can export a synchronised chroma-key ready video of the overlay for import into your video editor.

This looks exactly right, but I will be checking it out tomorrow. I will probably be back to accept your answer shortly, unless something even cooler comes up, but this is pretty awesome.

This works perfectly for what I am trying todo. Thank you for your answer!


text:
How to cut and merge mp4 video segments without re-encoding?
I have some screencast video files in mp4 container (h.264/mp3 codecs) that I want at times merge (i.e. C.mp4 =  A.mp4+B.mp4) or at times cut removing some intervals (e.g. D.mp4 = A.mp4[0,320{seconds}]+A.mp4[325,340]+C.mp4).
I am now using kdenlive, it woks but it re-encode everything and it seems a bit too much for such a task.
Is there a simpler way to do that without re-encoding (even, and perhaps preferred, command line or stable Python/Julia/R/.. library way) ?
I am thinking at something like PDFtk for the pdfs :-))
PS: Following suggestions from a related question I did try ffmpeg -ss 00:00:05 -to 00:00:10 -i test1.mp4 test2.mp4 but I got the error:

Option to (record or transcode stop time) cannot be applied to input
  url test1.mp4 -- you are trying to apply an input option to an output
  file or vice versa. Move this option before the file it belongs to.

I would like to be able to specify several start/stop times from a single or perhaps multiple input files.
EDIT: More I look, more I find complicate solutions. My files are exactly the same codec/container/resolution..

"PS: Following suggestions from a related question I did try ffmpeg -ss 00:00:05 -to 00:00:10 -i test1.mp4 test2.mp4 but I got the error:" Put the -to after the input. If still an error move the -ss after the input as well. i.e. ffmpeg -i input -ss -to...

Avidemux can do that

Your ffmpeg version is too old. Try to install the latest version.

Replying to an old question, but for anyone coming across this - try the answer on this similar question here https://video.stackexchange.com/questions/30269/edit-small-portion-of-a-compressed-video-without-losing-quality/30272#30272

IT will help merge movie1..3.mp4
For cut can add -ss 00:00:XX -to 00:00:XX for -i file
ffmpeg -y -hide_banner  \
 -i "movie1.mp4" -c copy -bsf:v h264_mp4toannexb -an -f mpegts \
 intermediate1.ts

ffmpeg -y -hide_banner  \
 -i "movie2.mp4" -c copy -bsf:v h264_mp4toannexb -an -f mpegts \
 intermediate2.ts

ffmpeg -y -hide_banner  \
 -i "movie3.mp4" -c copy -bsf:v h264_mp4toannexb -an -f mpegts \
 intermediate3.ts

ffmpeg -y  -hide_banner \
 -i "concat:intermediate1.ts|intermediate2.ts|intermediate3.ts" \
 -i wind.wav \
 -c:v copy -c:a aac -b:a 64k \
 "mergedmovie.mp4"

Well, this doesn't solve the problem of the re-encoding, but at least it is an handy interface. Just use it (in Linux) with vcat -i inputfile1,inputfile2[start-end],... -o <outputfile> (it needs python3 and the moviepy package)
#!/usr/bin/python3

import sys, getopt, re

def printerror(errormsg):
  print("*** vcat - concatenate video segments using moviepy ***\n")
  print("ERROR:", errormsg,"\n")
  print("Usage: vcat -i inputfile1,inputfile2[start-end],... -o <outputfile>")
  print("Optional start and end points should be given in seconds. If files have spaces should be quoted (e.g. \"input file.mp4[5-30]\").")

try:
 from moviepy.editor import VideoFileClip, concatenate_videoclips
except ImportError:
 printerror("You don't seem to have moviepy installed. Install it with `pip install moviepy`.")
 exit(1)

def main(argv):
    inputfiles_arg = ''
    outputfile = ''
    try:
        opts, args = getopt.getopt(argv,"hi:o:",["input=","output="])
    except getopt.GetoptError as err:
        printerror(str(err))
        sys.exit(2)
    for opt, arg in opts:
        if opt == '-h':
            printerror("")
            sys.exit()
        elif opt in ("-i", "--input"):
            inputfiles_arg = arg
        elif opt in ("-o", "--output"):
            outputfile = arg
    if outputfile =='':
        printerror("Output file not specified")

    iFiles = inputfiles_arg.split(',')

    clips=[]
    for iFile in iFiles:
        subclip = re.search(r"\[([0-9\-\.]+)\]", iFile)
        if subclip is None:
            clips.append(VideoFileClip(iFile))
        else:
            dims = subclip.group(1).split('-')
            if len(dims) != 2:
                printerror("If a specific segment of a file is specified, this should be given as [startseconds-endseconds]")
            iFile = iFile.replace("["+subclip.group(1)+"]",'')
            clips.append(VideoFileClip(iFile).subclip(float(dims[0]),float(dims[1])))

    f = concatenate_videoclips(clips)
    f.write_videofile(outputfile)

if __name__ == "__main__":
   main(sys.argv[1:])

Disclaimer: I don't use Python by a while, so sure there could be better approaches.. bdw it's really nice to be able to do what you want to do in a few hours because of the enormous documentation you can find on the net about python..


text:
How to deinterlace a fragment of a movie and retain the exact original quality with FFmpeg
I've got a final version of a movie I co-produced, ca. 20 minutes in a below 3GB file. There's a few-second-long fragment that needs to be deinterlaced, but I can't do it on a project file before rendering, since the original director/editor is a weirdo, so I have to make do with the version I have.
Therefore I split the movie to isolate the fragment I need to deinterlace, and I intend to concatenate it later on.
I used this advice: https://askubuntu.com/questions/866186/how-to-get-good-quality-when-converting-digital-video and it works well, however it results in a 50 fps file instead of 25 fps (which is understandable due to the intricacies of the process, but not compatible with my original file) and quite different quality settings.
How would I formulate the command to get the output file compatible with the source file in order to concatenate? Should it be two-pass to take advantage of 50 fps deinterlacing process?
Thanks in advance, Antoni.
The source file specs are:
Format                                   : MPEG-4
Format profile                           : Base Media
Codec ID                                 : isom (isom/iso2/avc1/mp41)
File size                                : 75.2 MiB
Duration                                 : 34 s 987 ms
Overall bit rate mode                    : Variable
Overall bit rate                         : 18.0 Mb/s
Writing application                      : Lavf57.34.103

Video
ID                                       : 1
Format                                   : AVC
Format/Info                              : Advanced Video Codec
Format profile                           : Main@L4.1
Format settings                          : CABAC / 3 Ref Frames
Format settings, CABAC                   : Yes
Format settings, RefFrames               : 3 frames
Codec ID                                 : avc1
Codec ID/Info                            : Advanced Video Coding
Duration                                 : 34 s 760 ms
Bit rate mode                            : Variable
Bit rate                                 : 17.9 Mb/s
Maximum bit rate                         : 24.0 Mb/s
Width                                    : 1 920 pixels
Height                                   : 1 080 pixels
Display aspect ratio                     : 16:9
Frame rate mode                          : Constant
Frame rate                               : 25.000 FPS
Standard                                 : NTSC
Color space                              : YUV
Chroma subsampling                       : 4:2:0
Bit depth                                : 8 bits
Scan type                                : Progressive
Bits/(Pixel*Frame)                       : 0.346
Stream size                              : 74.3 MiB (99%)
Language                                 : English
Color range                              : Limited
Codec configuration box                  : avcC

Audio
ID                                       : 2
Format                                   : AAC LC
Format/Info                              : Advanced Audio Codec Low Complexity
Codec ID                                 : mp4a-40-2
Duration                                 : 34 s 987 ms
Bit rate mode                            : Constant
Bit rate                                 : 192 kb/s
Channel(s)                               : 2 channels
Channel layout                           : L R
Sampling rate                            : 48.0 kHz
Frame rate                               : 46.875 FPS (1024 SPF)
Compression mode                         : Lossy
Stream size                              : 820 KiB (1%)
Language                                 : English
Default                                  : Yes
Alternate group                          : 1

[Edit 1:]
As per request, my original command and result (I pressed 'q' for quitting, as it takes quite a long time and here's for demonstration purposes only):
C:\Users\Antoni\Videos\zwycięstwo>ffmpeg -i gotowy_na_poprawki.mp4 -vf yadif=1:-1:0,mcdeint=2:1:10 poprawiony_tmp.mp4
ffmpeg version N-79690-g78baa45 Copyright (c) 2000-2016 the FFmpeg developers
  built with gcc 5.3.0 (GCC)
  configuration: --enable-gpl --enable-version3 --disable-w32threads --enable-avisynth --enable-bzlib --enable-fontconfig --enable-frei0r --enable-gnutls --enable-iconv --enable-libass --enable-libbluray --enable-libbs2b --enable-libcaca --enable-libfreetype --enable-libgme --enable-libgsm --enable-libilbc --enable-libmodplug --enable-libmfx --enable-libmp3lame --enable-libopencore-amrnb --enable-libopencore-amrwb --enable-libopenjpeg --enable-libopus --enable-librtmp --enable-libschroedinger --enable-libsnappy --enable-libsoxr --enable-libspeex --enable-libtheora --enable-libtwolame --enable-libvidstab --enable-libvo-amrwbenc --enable-libvorbis --enable-libvpx --enable-libwavpack --enable-libwebp --enable-libx264 --enable-libx265 --enable-libxavs --enable-libxvid --enable-libzimg --enable-lzma --enable-decklink --enable-zlib
  libavutil      55. 23.100 / 55. 23.100
  libavcodec     57. 38.100 / 57. 38.100
  libavformat    57. 34.103 / 57. 34.103
  libavdevice    57.  0.101 / 57.  0.101
  libavfilter     6. 44.100 /  6. 44.100
  libswscale      4.  1.100 /  4.  1.100
  libswresample   2.  0.101 /  2.  0.101
  libpostproc    54.  0.100 / 54.  0.100
Input #0, mov,mp4,m4a,3gp,3g2,mj2, from 'gotowy_na_poprawki.mp4':
  Metadata:
    major_brand     : isom
    minor_version   : 512
    compatible_brands: isomiso2avc1mp41
    encoder         : Lavf57.34.103
  Duration: 00:00:34.99, start: 0.016000, bitrate: 18023 kb/s
    Stream #0:0(eng): Video: h264 (Main) (avc1 / 0x31637661), yuv420p(tv), 1920x1080 [SAR 1:1 DAR 16:9], 17941 kb/s, 25 fps, 25 tbr, 12800 tbn (default)
    Metadata:
      handler_name    : VideoHandler
    Stream #0:1(eng): Audio: aac (LC) (mp4a / 0x6134706D), 48000 Hz, stereo, fltp, 192 kb/s (default)
    Metadata:
      handler_name    : SoundHandler
[libx264 @ 0000000002d609e0] using SAR=1/1
[libx264 @ 0000000002d609e0] using cpu capabilities: MMX2 SSE2Fast SSSE3 SSE4.2 AVX FMA3 AVX2 LZCNT BMI2
[libx264 @ 0000000002d609e0] profile High, level 4.2
[libx264 @ 0000000002d609e0] 264 - core 148 r2694 3b70645 - H.264/MPEG-4 AVC codec - Copyleft 2003-2016 - http://www.videolan.org/x264.html - options: cabac=1 ref=3 deblock=1:0:0 analyse=0x3:0x113 me=hex subme=7 psy=1 psy_rd=1.00:0.00 mixed_ref=1 me_range=16 chroma_me=1 trellis=1 8x8dct=1 cqm=0 deadzone=21,11 fast_pskip=1 chroma_qp_offset=-2 threads=6 lookahead_threads=1 sliced_threads=0 nr=0 decimate=1 interlaced=0 bluray_compat=0 constrained_intra=0 bframes=3 b_pyramid=2 b_adapt=1 b_bias=0 direct=1 weightb=1 open_gop=0 weightp=2 keyint=250 keyint_min=25 scenecut=40 intra_refresh=0 rc_lookahead=40 rc=crf mbtree=1 crf=23.0 qcomp=0.60 qpmin=0 qpmax=69 qpstep=4 ip_ratio=1.40 aq=1:1.00
[mp4 @ 0000000002f90020] Using AVStream.codec to pass codec parameters to muxers is deprecated, use AVStream.codecpar instead.
    Last message repeated 1 times
Output #0, mp4, to 'poprawiony_tmp.mp4':
  Metadata:
    major_brand     : isom
    minor_version   : 512
    compatible_brands: isomiso2avc1mp41
    encoder         : Lavf57.34.103
    Stream #0:0(eng): Video: h264 ([33][0][0][0] / 0x0021), yuv420p, 1920x1080 [SAR 1:1 DAR 16:9], q=2-31, 50 fps, 12800 tbn (default)
    Metadata:
      handler_name    : VideoHandler
      encoder         : Lavc57.38.100 libx264
    Side data:
      cpb: bitrate max/min/avg: 0/0/0 buffer size: 0 vbv_delay: -1
    Stream #0:1(eng): Audio: aac (LC) ([64][0][0][0] / 0x0040), 48000 Hz, stereo, fltp, 128 kb/s (default)
    Metadata:
      handler_name    : SoundHandler
      encoder         : Lavc57.38.100 aac
Stream mapping:
  Stream #0:0 -> #0:0 (h264 (native) -> h264 (libx264))
  Stream #0:1 -> #0:1 (aac (native) -> aac (native))
Press [q] to stop, [?] for help
[snow @ 000000000070dc60] pass:4mv changed:200
[snow @ 000000000070dc60] pass:4mv changed:552400:00:00.49 bitrate=   0.8kbits/s dup=15 drop=0 speed=0.294x
[snow @ 000000000070dc60] pass:4mv changed:144
[snow @ 000000000070dc60] pass:4mv changed:612400:00:00.53 bitrate=   0.7kbits/s dup=15 drop=0 speed=0.146x
[snow @ 000000000070dc60] pass:4mv changed:120
[snow @ 000000000070dc60] pass:4mv changed:639200:00:00.57 bitrate=   0.7kbits/s dup=15 drop=0 speed= 0.1x
[snow @ 000000000070dc60] pass:4mv changed:136
[snow @ 000000000070dc60] pass:4mv changed:501600:00:00.59 bitrate=   0.6kbits/s dup=15 drop=0 speed=0.0851x
frame=   23 fps=2.4 q=-1.0 Lsize=     166kB time=00:00:00.64 bitrate=2122.3kbits/s dup=15 drop=0 speed=0.066x
video:154kB audio:10kB subtitle:0kB other streams:0kB global headers:0kB muxing overhead: 1.158849%
[libx264 @ 0000000002d609e0] frame I:1     Avg QP:20.47  size:124507
[libx264 @ 0000000002d609e0] frame P:6     Avg QP:24.42  size:  3213
[libx264 @ 0000000002d609e0] frame B:16    Avg QP:29.37  size:   808
[libx264 @ 0000000002d609e0] consecutive B-frames:  4.3%  8.7%  0.0% 87.0%
[libx264 @ 0000000002d609e0] mb I  I16..4: 22.7% 62.9% 14.4%
[libx264 @ 0000000002d609e0] mb P  I16..4:  1.3%  2.4%  0.0%  P16..4: 10.8%  0.7%  0.4%  0.0%  0.0%    skip:84.3%
[libx264 @ 0000000002d609e0] mb B  I16..4:  0.1%  0.1%  0.0%  B16..8:  8.6%  0.1%  0.0%  direct: 0.0%  skip:91.1%  L0:26.7% L1:72.8% BI: 0.5%
[libx264 @ 0000000002d609e0] 8x8 transform intra:62.4% inter:96.1%
[libx264 @ 0000000002d609e0] coded y,uvDC,uvAC intra: 76.6% 82.7% 58.9% inter: 0.5% 1.1% 0.0%
[libx264 @ 0000000002d609e0] i16 v,h,dc,p: 14% 20% 44% 22%
[libx264 @ 0000000002d609e0] i8 v,h,dc,ddl,ddr,vr,hd,vl,hu: 17% 21% 23%  5%  6%  7%  8%  8%  6%
[libx264 @ 0000000002d609e0] i4 v,h,dc,ddl,ddr,vr,hd,vl,hu: 21% 27% 11%  6%  8%  8% 10%  6%  4%
[libx264 @ 0000000002d609e0] i8c dc,h,v,p: 47% 24% 21%  9%
[libx264 @ 0000000002d609e0] Weighted P-Frames: Y:0.0% UV:0.0%
[libx264 @ 0000000002d609e0] ref P L0: 74.5%  9.2% 14.4%  1.9%
[libx264 @ 0000000002d609e0] ref B L0: 79.0% 20.9%  0.0%
[libx264 @ 0000000002d609e0] ref B L1: 98.6%  1.4%
[libx264 @ 0000000002d609e0] kb/s:2725.30
[aac @ 000000000114c640] Qavg: 319.544

BTW, it's best when asking ffmpeg questions to post your ffmpeg command, and the output from the command.

thanks, here it is, however as you can see i'm basically asking for an ffmpeg command, mine is clearly wrong.


text:
How do I add a synchronized clip/angle to a multi-cam clip?
I selected a 10 clips of the same event and created a new Multicam clip. The videos aligned perfectly via Use audio for synchronization. I edited the entire clip and chose different angles at the exact times I want them to show. Everything is great.
Problem is I just found another clip that should have been added, but I forgot to add it (i.e. I should have 11 clips in the multicam clip, not only 10). I want to add this 11th clip and tweak the multicam clip a bit to show it at certain times. I don't want to restart the process as 90% of my work is already done.
I know I can add a new angle and drag the clip in there, but the problem is I would have manually "synchronize" it, by dragging it in the correct location. I don't see any way to choose to synchronize it (e.g. via audio).
I see Clip > Synchronize clip, but that is disabled, and I wouldn't even know which two or more clips I should choose.
How do I add a new clip/angle to an existing multicam clip, and have it automatically synchronize its position via audio?

Manually syncing 1 clip via audio doesn't seem like a big deal.

Going from 10 to 11 is just one example, might need to go from 10 to 16 for example.

One (probably dumb) way to do this is:

Select all 11 clips again and create a new, temporary Multicam clip.
Double-click the temporary multicam clip and find out the exact timecode where the new, 11th clip was added.
Copy the 11th clip.
Delete the newly created temporary multicam clip
Double-click the original multicam clip
Navigate to that exact same timecode
Paste the clip into that location


text:
How do I change the start/end time of a clip in Final Cut Pro X without changing the duration?
Imagine I made a bunch of changes to a project, I have a bunch of videos lined up like [clipA][clipB][clipC]. Now I want to tweak clipB's start/end times without changing it's duration such that the audio for all the other clips is still aligned properly.
I know I can drag the left/right edges of clipB, but that'll mess with the audio and where all the other clips start/end. All I want to do is adjust the start time of clipB.
I'm assuming there is a way to specify the timecode for the start via typing it in, but I want a way to do this with the UI.
iMovie has this feature. You just go to Window > Show Clip Trimmer. Then you drag the clip left and right to change its start time while keeping the duration intact.
I couldn't find a way to do this in Final Cut Pro. The closest I could find is I can go Clip > Open Clip, and then there is an interface that looks like it would allow me to drag the clip to adjust the start time, but the text always shows +00:00.00, and after dropping it, it resets back to the default.
How can I adjust the start time of a clip via the GUI without affecting its duration?
Update: Here is a screengrab from iMovie that shows exactly what I'm trying to do. Notice how I can tweak the start/end times of the clip without affecting the clip's duration:

How do I do the same thing in Final Cut Pro?

With the Open Clip option, the reason that it's not taking any of the changes is because the Arrow tool is selected. Hit the tool icon and choose Position and it'll start taking your changes.

The Clip Trimmer feature in iMovie does not seem to have an equivalent in Final Cut Pro.
This is unfortunate, because one of the other really cool features of the clip trimmer, is that it shows you the start/end frame as you drag the clip which saves you time.

I needed this feature and had not found it. I ended up finding out on the web with no answers.

Choose the video that is already cut.
Choose the TRIM option from the timeline menu
Click on the corresponding clip and drag to the left or right that will do the same option.

PS: FCPX 10.4.6 but I believe the option is common.
Good luck.

I'm not 100% sure I understand the question, but one possible solution is to select clipB and press option+cmd+uparrow to lift it from the Storyline. Then use the position tool (P) to move the clip, or Trim (T) to edit the in/out points. That should preserve the video length by adding a slug in place of the clip.

Edit: looks like you just need to select all the clips (or group together as a compound clip) and use the position tool to move the sequence to the correct place on the timeline.

It seems like a slug is essentially a blank screen. I don't want to add a blank screen. Your gif starts out exactly like what I'm trying to do. You pop out the video in question. But then you tweak the end time and shorten the clip. I want the exact same duration. I want to just adjust the start time of the video (e.g. instead of going from 2:04-3:04, I want it to go from 2:14-3:14) just by dragging the video. Just like I can do in iMovie.

Ah, I see! Then the position tool seems like the best bet. Select all the clips then move to the correct position on the timeline. Make sure snapping N is turned off.


text:
What are the default export settings when I choose to upload to YouTube in Final Cut Pro X?
I'm trying to upload a video to YouTube from Final Cut Pro X. When I use the Share > YouTube option, the upload happens pretty well.
There are bugs though: it asks me for my password 10+ times, it uses defaults that are different than the ones on YouTube.com, etc.
Furthermore, I also want to have a copy of the exact exported file so I can upload on other sites too.
Because of all of these, I'd prefer to export my video into the file system, and go to YouTube.com and manually upload it there (rather than having Final Cut Pro X upload it for me automatically).
However, when I go to export the video, I'm not sure what is the best format to use when uploading to YouTube:

Presumably Final Cut Pro X already figured it out and is using the best format settings when you choose to upload to YouTube. However, it doesn't show you which settings it uses:

What settings is it using to export a video when I choose the YouTube option?

I tried doing my own investigation by uploading to YouTube and then downloading the vide, but the problem is that the downloaded video from YouTube is significantly smaller (and in a different format) than the ones you upload.
For example, when I chose to export using the following Video codecs, I got these file sizes, and these download sizes:

Source (Apple ProRes 422): Exported a .mov at 4GB. When downloaded via YouTube, it was an mp4 at 18MB.
H.264: Exported a .mov at 400MB. When downloaded via YouTube, it was an mp4 at 18MB.

Interestingly enough, when uploading to YouTube on the website, it said:

Video / Audio quality:
  Your videos will process faster if you encode into a streamable file format. For more information, visit our Help Center.

... which shows these ideal settings:

However, even when I try to upload an H.264 encoded .mov file, it shows me this warning. Is it because it's not in .mp4 format? And if so, how do I export as .mp4 format?

I'm not 100% sure this is the correct settings, but it does seem to be closer to the real thing since YouTube no longer shows the warning when you use these settings.
They key seems to use H.264 with the .mp4 format. The way to choose mp4, is to change the Format from Video and Audio (.mov), to Computer (.mp4):

This uploads cleanly to YouTube with no warnings, and also produces a video that is half the size of the .mov file (200MB instead of 400MB).
If you find yourself wanting to use this solution many times, you might as well create a new destination, Prepare for YouTube:

Note that the resolution settings are not 16:9 in the last screenshot (i.e. they are 4096 x 2160 instead of what is ideal on YouTube for 4K: 3840 x 2160). This means you'll need to manually choose this setting each time in the share screen.
Note: When you try to download the video on YouTube, you might expect it to download the original mp4 you uploaded (200MB), but you'll find that the video that is downloaded is much smaller (18MB). You can therefore not use YouTube as a way to backup your exported mp4. You should still store it on some other medium or service.


text:
Cross dissolve introduces blocky artifacts
I'm adding a Cross Dissolve transition to a video. In preview mode it looks great. When I export to H.264, it shows blocky artifacts, even if I have the "Use Maximum Rendering Quality" checkbox checked.
Is there any way to get high quality cross dissolves in Premiere?
Update: I'm creating a 4K video (source was filmed in 4K at 30fps), and using all of the other default settings for Video output.

As this answer alludes to, it's probably an issue with the target bitrate:

800kbps is very low for 1080p. It probably works for lecture notes
  because there isn't much change from frame to frame, but blocking
  occurs during the transition because there isn't enough bandwidth to
  handle all the changes. Here are a few alternatives:

Keep average bitrate low but increase the maximum bitrate; this will potentially provide headroom for the transitions
Use a wipe or slide transition instead of fade so that only part of the image changes at a given time
Do not use a transition; just cut to black (or white, or a new title); this alternative will likely produce the best results

A few notes about your other settings:

Render at Maximum Bit Depth matters if processing and exporting at 10+ bits per channel; you can leave it unchecked for H.264
Maximum Render Quality is intended for use when exporting at smaller dimensions than the sequence
Changing Stream Compatibility to Standard and Profile to Main or High will provide better compression via CABAC encoding; however, the
  compressed file might not play on some devices (Main Profile will be
  more compatible than High)
Consider publishing low-bitrate versions at lower resolution (1280x720 or even 854x480) and encode 1080p at higher bitrate;
  similarly, retangular pixels (1440x1080) can help, but the video won't
  play correctly in many media players

Turns out when I chose H.264 as the format and Match Source - High Bitrate as the preset, the default target bitrate was very low (10 Mbps). For a 4K video, you probably want to use VBR, 2 pass with Target Bitrate set to 44 Mbps, and Maximum Bitrate set to 56 Mbps.
This also explains why my resulting videos in Premiere were originally much smaller than similar ones created in Final Cut Pro.
If you're uploading to YouTube, you can use the YouTube 2160p 4K Ultra HD present, which will choose a respectable 40 Mbps. The one caveat is that there are two versions of "4K" and there's a possibility that your source clips will get cropped with these export settings. To verify, you should temporarily "match source" on the width/height of the video, and verify that those are the same as the YouTube preset you chose.
Although even with this preset, you may want to follow some of the suggestions in this article and tweak it to use VBR, 2 pass. Although the low bitrate mentioned in the article should probably be avoided.


text:
After effects | How do I copy an image source from layer to another programatically?
My comp setup is as follows:
- layer 1: image
- layer 2: duplicated from layer one
I'm looking for an expression or any other method (Could be a plugin recommendation) so when I change the image of layer 1, it automatically updates layer 2!

It depends how you mean:
Option 1:
If you put the image in Layer 1 inside a Comp, then any change to the image inside the Comp will change in both Layer 1 and Layer 2 (assuming you also put the Comp on Layer 2).
Option 2:
You could put a load of different images inside a comp, a different one on each frame.
Then in your master comp, place this comp, but assign Time Remap to the comp, to choose to hold on a specific frame.  Then when you want to change the held frame, just keyframe to the different time in your first comp.
Option 3:
If you really mean to change the image programmatically, you could use something like Templater Rig, where you can set a load of different file paths to images, and then assign them to different comps programmatically.

Thanks @tomh, I'm more into option1 but would like to have a different effect for each image in each comp. Templater is perfect choice but pricy for this feature only.

I don't think you need any additional plugins for what you're trying to do.
Just place the different effects on layer 1, layer 2 whilst using the same comp in each layer?

This is great, but for some reasons when I duplicate the comp in the timeline, the copy doesn't follow the original in changes. only if the comp is in project directory and not imported to the time line then the method works. Once the duplicate imported it doesn't follow the changes.

how do you mean it doesn't follow the changes?  Duplicating a comp in the timeline is different from duplicating it in the project window. When you duplicate it in the timeline, both layers will reference a single source comp. If you duplicate the comp in the Project panel, it will make a unique copy of the comp.

That’s exactly what I wanted. Sorry for confusion.

No worries at all- I highly recommend this set of tutorials to learn more. It’s old but all of it is still relevant: http://www.videocopilot.net/basic/


text:
Why is Aplha channel video layer not working correctly in premiere pro?
I am Naved and I am using Adobe Premiere Pro CC 2019 for creating a YouTube video. This video is providing a list of recommended copyright free music that is available on YouTube for free use.
I wanted to show an audio visualizer (or say audio spectrum) in my video. This video is very long, consisting of around 100 different music tracks and its duration is of nearly 4 Hours.
As it is clear that Audio Spectrum plugin works only with Adobe After Effects CC 2019 and I cannot create a composition of more than 3 Hours in After Effects, again I cannot make a complex while lengthy project at the same time, in After Effects; So, I considered only importing the audio file and a DVD(Disk) Icon in After Effects. I applied the Audio Spectrum and Audio Reactive (on scaling) effects on and around the Disk Icon with Transparent Background.
As the audio file was of more than 4 hours, I had to perform this process in two parts, 1st one for about 3 hours and the 2nd one for the remaining 1 hour.
For rendering the video files, I chose Quicktime Codec, Animation Format with 8 Bit + Alpha Channel Settings. I took the final export to Premiere Pro, where I already had a Background Image, a Black video (for background dullness), and a Legacy Title. When I imported the rendered video in my premiere pro sequence, I put it above all of the layers.
But, when I played out the video, I found that the audio spectrum was going BEHIND the Legacy Title and the Disk Icon was showing in front of the Legacy Title. This was a very strange kind of behavior that I have never encountered before because they both (disk icon and audio spectrum) are a part of a single video i.e. single layer only and either they both should be in front of the other layers or be backward than them. Another interesting thing is that the audio spectrum is showing in front of the background image but not in front of the legacy title. So, I thought I can export my background frame including the text and then, put it behind the audio spectrum video. Surprisingly, even after rendering the still image as Background and keeping it behind the Audio Spectrum Layer, the result was again the same. The Disk Icon was in front of the Text and the Audio Spectrum was behind the text but background image.
Now I have run out of ideas, why this strange kind of behavior is being encountered in Premiere Pro. It could be my fault too but I am unable to understand where is the error standing?
To make things clear to understand, I have attached an exemplary video on YouTube. For further reference and clear differentiation, I have put a duplicate legacy title stating "COPYRIGHT FREE MUSIC" just behind the audio spectrum part of the video.
You can find this detailed question in the description of the mentioned video also.
For any other required details, I am right here to comment.
 Screenshots of Layers:-
 Screenshot of the arrangement of all layers in Premiere Pro Sequence:

 Sceenshot of Disk Icon and Audio Spectrum Video Layer:

 Sceenshot of Legacy Title Layer:

 Screenshot of Background Image Layer:

 Screenshot of Background Image Layer after applying Black VIdeo Layer:

Lastly, you may not have encountered this problem yet, or this problem may sound very minor to you but still, there are many people around there, who are just like me, who have/will encounter(ed) this problem someday. So, if you cannot "Upvote" this question to increase its reach. at least do NOT "Downvote" it.
Thank You So Much in Advance!!!

I suggest you condense your question. You're giving an overwhelming amount of details not pertaining to the question. I'm happy to help once you do that.

The video/layer that consists the audio spectra and the disk is single having transparent background. So, if I am putting this layer above all the layers then both Audio Spectra and the disk must be in front all the other layers. But that video/layer is acting weirdly. Only disk icon is shown in front of every layer whilst the audio spectra is shown in front of only background image and behind the text ("Copyright Free Music"). I want audio spectra to be behind the text. I hope I was able to point the exact problem.

Post a screen shot of your layers.

@LetTheWritersWrite I have added the Screenshots of all of my layers in the question itself. Kindly check the same and update me. Thank You :)

are you there @LetTheWritersWrite??? I really need some help.


text:
Recommandation for on-premises video file transcoding server accessible via REST API?
I am looking for a video file transcoding solution that I can run on an on-premises server and access via a REST API.
While I found lots of commercial cloud services (e.g. https://www.filestack.com/products/audio-video-transformations/ or https://zencoder.com/en/), I could not find an on-premises video transcoding server, neither open source nor commercial.
Do you have recommendations? Do you use a custom built solution?

Telestream used to make one called FlipFactory that I have used (a long time ago). I believe it's called Vantage now. https://www.telestream.net/vantage/overview.htm
A lot of people do this kind of thing in the cloud now using things like Amazon's Elastic Transcoder
https://aws.amazon.com/elastictranscoder/


text:
How to change the aspect ratio during the film
So I want to start the film with a 2.35:1, and I want it to change to 16x9 during one take.
How can I do that?
Do I put black bars on it and remove them at the right moment?
Any help is much appreciated.
(my camera records at 16x9)
Thanks!

Putting black bars on the top and the bottom of your frame looks like you changed your aspect-ratio, but really you didn't. All you did was put black bars on top of a 16x9 video. One way of doing this is to record in 2.35:1 and slowly zoom into your footage until the left and right part is cut out. Alternatively, you can just put black bars on your footage but let me tell you from personal experience: any half-way trained eye will look at it and say yuck.

Well, I have a DSLR that records in 16x9, so I can't record in 2.35:1, what option would you recommend?

In that case you could either go with the complicated way and get a lens that distorts the image by stretching it vertically, then unstretching it in post to have a wider aspect-ratio - or you could use the black bars. To sell the effect more I'd zoom in while moving the black bars out of frame tho.

A proportion, 2.35:1 or 16:9 is only part of the story. The real thing is to count the pixels.
Another thing is to preview a scene on a display and another one is to actually have the proportion recorded. So, let us address the different aspects of the recording.
I do not know why you want to do it during the recording. If you want an accurate representation of the proportion, yes, you could simply add some soft sticky tape (magic scotch tape or some insulating tape that leaves no residues, and softened taping it into some cloth)
But your camera still will record on the proportion it can record. Period.
You could record at 4k and crop it later on post pro.
Or you could get some anamorphic lenses, put it on your camera, record at 16:9 but change the project settings on the editing to use rectangular pixels, so the 16:9 is then reproduced at a wider aspect ratio.


text:
How to delete the very last frame of a video using ffmpeg / mencoder / transcode or any other?
I am trying to delete the very last frame of a video using ffmpeg / mencoder / transcode / or any other free linux application.
Here is what I have so far, and it's only extracting it, it's not deleting it from the actual video file.
#!/bin/bash

fn="$1"
of=${fn%.*}.jpg

lf=`ffprobe -show_streams "$fn" 2> /dev/null | awk -F= '/^nb_frames/ { print $2-1 }'`
rm -f "$of"
ffmpeg -i "$fn" -vf "select='eq(n,$lf)'" -vframes 1 "$of" 2> /dev/null

Your first line, which attempts to get the number of frames does not work for me. For whatever reason my test files report 'N/A' rather than a number. But since it worked for you, you were almost done.
If you know that you want to remove frame number $lf, you can just do the following:
let frames=$lf-1
ffmpeg -i "$fn" -frames:v $frames -c:v copy -c:a copy "$of"