text:
Does the new Panasonic 4k LUMIX LX100 seem like a good entry-level 4k camera?
http://www.redsharknews.com/production/item/2155-the-panasonic-4k-lx100-is-a-lot-of-camera-for-the-price?utm_source=www.lwks.com+subscribers&utm_campaign=42f49e8a2f-RSN_Nov07_2014&utm_medium=email&utm_term=0_079aaa3026-42f49e8a2f-77397533
The camera looks really good and it's really cheap for a 4k camera.  Unfortunately, it's a point and shoot so there's no hot shoe (or cold shoe) and no external mic jack.  Despite all this it still looks like a decent entry-level 4k camera.  I'm specifically interested in the focus and depth-of-field options.
I'm looking to buy a new camera for filmmaking sometime in the next year.  The camera that I originally was looking at is the Canon EOS Rebel SL1 with a 18-55mm and 55-250mm STM Lens, but this new camera has me interested.

When I was first looking for a good portable camera, the LX100 was on the top of the list. When looking at research, the LX100 provides great IQ (at 4k) in a good compact device for the price.
If you have not already looked at these sites, I would suggest looking up TheCameraStore review on YouTube, CameraLabs, Dpreview, and EOSHD.
LX100 does also have many limitation.

With a fixed lens system, your focal range is set to certain range. This may not be an issue initially, but can hamper longer term use of the camera.
Having a smaller camera brings up the issue ergonomics and vibrations during handling. In the efforts of compacting the size, there is no flippable screen.
If I remembered correctly, the LX100 has a clicky control ring. This may causes issues when your are trying to focus pull smoothly and cause background audio you will need to clean up.
All the other issues you mentioned about no mic jack and limited picture profiles can be all a concern. (I do believe it has a hotshoe, because it comes with a separate flash unit).
Shallow DOF, while great for a camera this size, will be less than the Rebel with APC sized sensor. With the lack of a tele range for your lens, this will compound the limitations.

My question for you; is 4k needed for your workflow? With the shift of displays going 4k, there is something to be said about future proofing your work. If you are just getting starting in videography, 4k maybe more trouble that its worth. If you want to output 4k content, you will needed a powerful computer for editing, 4k monitor, and good amount of storage.
If you need the 4k (and want the lowest price), LX100 is a great choice. If you have more flexibility in your budget, I would also suggest looking at the Samsung NX1 and the Panasonic GH4.

It looks decently nice.  I couldn't find anything about how well it does or if it supports AF during video or not.  It's basically a miniaturized GH4 and the GH4 was a nice camera for the price to start with.  I certainly wouldn't say this isn't a good entry level 4k video camera.  It leaves a few things to be desired for sure, but for the price and size, it is a solid entry and even if you replace it, it still has a lot of utility due to the small size and (relatively) cheap price.


text:
Encoding 720p 29.97 fps video, options in Adobe Media Encoder are 23.976, 24 or 59.94 fps
A little confused here, I have a video file that's 720p @ 30.303 fps.
Working on it in Premiere Pro CC 2014 and ready to encode the file and the options I get for h.264 Blu-ray under frame rate are 23.976, 24 or 59.94 fps, no 29.97 fps.
What am I missing here?  I think I don't want to be choosing the frame rate that's double right?
Thanks!

The Blu-ray standard doesn't allow this framerate with this resolution.
https://forums.adobe.com/thread/622722
Your options are either upscale your resolution to 1080i/p or to change your framerate to 24fps.
The former will probably produces fewer artifacts.

Won't upscaling degrade the video quality though?

In a way yes but not necessarily that much. You might want to upscale to 1080i not not 1080p. 1080i is much closer to 720p due to interlacing.

source: Stack Exchange

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

sort: votes


text:
Chaining Matroska files
Often there is a case where one has a series of the already muxed Matroska files, and they have a logical order. It may be desirable to chain them all together, giving a hint to the video player, that after finishing one of these files another one should start playing.
Although the standard permits prev-uid and next-uid metadata tags it can be quite difficult to set them up on all the files, doing it by hand will all but guarantee some human error in pasting, and is way too tidious anyhow.

The mkvtools package provides a way to read and to edit the metadata of any Matroska file without the need to remux directly from the command line. This allows one to write a relatively simple bash script that does the job.
In here the job is broken into three steps:

UID of each file is read by mkvinfo, cleaned, and recorded into the .uid file. At the same time these files are copied to the previous and next file with the extensions .nextuid and .prevuid.
Option file is generated by taking data from .nextuid and .prevuid files where they exist, this option file is saved with .seqtags extension.
The tool mkvpropedit is used to write the information, and the temp files are deleted.

The reason why it is not done in a single step is to allow the user to abort during the read process and to know that no files have yet been altered.
mkvsequence.sh
#!/bin/bash
# GPL3.0
SAVEIFS=$IFS
IFS=$(echo -en "\n\b")

FILES=$(ls *.mkv|sort)

echo First reading all the information
for FILE in $FILES
do
    echo Processing $FILE
    exec mkvinfo "${FILE}" | grep "Segment UID: "  | sed "s/^| *+ Segment UID: //g" > "${FILE}.uid"
    if [ $PREVFILE ]
    then
        cp "${FILE}.uid" "${PREVFILE}.nextuid"
        cp "${PREVFILE}.uid" "${FILE}.prevuid"
    fi
    PREVFILE=$FILE
done

echo Creating the necessary option files
for FILE in $FILES
do
    echo Processing $FILE
    if [ -f "${FILE}.prevuid" -o -f "${FILE}.nextuid" ]
    then
        echo $FILE > "${FILE}.seqtags"
        echo --edit >> "${FILE}.seqtags"
        echo info >> "${FILE}.seqtags"

        if [ -f "${FILE}.prevuid" ]
        then
            echo --set >> "${FILE}.seqtags"
            echo prev-uid=$(cat "${FILE}.prevuid") >> "${FILE}.seqtags"
        fi

        if [ -f "${FILE}.nextuid" ]
        then
            echo --set >> "${FILE}.seqtags"
            echo next-uid=$(cat "${FILE}.nextuid") >> "${FILE}.seqtags"
        fi
    fi
done

echo Now writing all the data
for FILE in $FILES
do
    echo Processing $FILE
    mkvpropedit "@${FILE}.seqtags"
    rm "${FILE}.uid" "${FILE}.prevuid" "${FILE}.nextuid" "${FILE}.seqtags"
done

IFS=$SAVEIFS

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


text:
Can we produce true 3D holograms yet?
Do we currently have true 3d animated holograms yet? Images that we can walk around and see as 3d? I'm pretty sure we have this for still objects but I've seen plenty of videos of animated concert holograms and they are only looking face on at the stage.

It depends what you regard as "true 3d" but there is a technique called "Light Field Display" which has been in development for some time now. Its essentially still a 2D screen but you can walk around and look at it from different angle as if it were an actual 3d object.
http://gl.ict.usc.edu/Research/3DDisplay/

Oh yeah, I forgot about the rotating mirror based systems.  It does technically produce a 3d image but uses a conventional projector and a rotating mirror.

that does look interesting and is the only "walkabout" example I've seen. There is also a in-process technology that claims it will bring holograms to consumers by late 2015 for $800. They dont really have any demo but have a project on indie gogo. https://www.indiegogo.com/projects/bleen-3d-without-glasses#home

Sounds like a scam tbh, they dont show a single real picture or video. Everything is rendered or stockfootage mixed with renderings.

Not at a usable frame rate.  The fastest I'm aware of is one that updates every 2 seconds.  They are also not free floating in air, but rather projected within a block of material.  There is a nice article on discovery.com about the most advanced one I know of here.
There are also vapor displays that can display a video floating in space, but those aren't actually 3d, just a 2d projection.

thanks. that article was from about 1.5 years ago and Blanche thought they would have results in a few months but when I checked his site I found his videos were blocked here by Youtube. Know any videos that show a person walking around a hologram?


text:
Framerate and timestamps in SubRip subtitles
I don't understand why the framerate of the video should affect timestamps in SubRip (*.srt) subtitles.  If I am correct, when you convert a video from one framerate to another, the length of the video remains the same—the only thing which changes is the total number of frames. But tools which change the subtitle framerate seem to follow an equation like
timestamp_1 x framerate_1 = timestamp_2 x framerate_2.

Which seems to imply that the frame numbers are equal.  For instance, in the SRTLab documentation, in order to convert from PAL (25.000 fps) to NTSC (23.976 fps), it says that each timestamp should be scaled by a factor of 25.000/23.976.  I don't understand this.  This would make the subtitles appear after the same number of frames in both videos, which is not what we're after. Obviously, I'm not getting something right.

I think that you have misread the formula
Let's say you want the subtitle to appear at 50.5 seconds. Current video rate is 25 frames per second.
This will mean that the subtitle will appear at the frame number 50.5*25 = 1263 (rounding up).
If you then convert the frame rate to 30 frames per second, your new start frame much change and will be 50.5*30 = 1515.
Perhaps you have gotten confused with this:
new_start_frame = new_frame_rate / old_frame_rate * old_frame

This is not ts_1 x f_1 = ts_2 x f_2, but rather ts_1 x f_2 = ts_2 x f_1.
Let's check with the numbers i have calculated above:
ts_1 = 1263
f_1 = 25
ts_2 = 1515
f_2 = 30

1263 * 30 = 1515 * 25
37890 = 37875

the error here was due to rounding.

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


text:
Picture In Picture - Software recommendation
Preferably free ones, but I'm willing to shell out some cash if it's well worth its value.
I have a very limited video editing experience but I'm willing to learn, so here is the criteria that I'm looking for :

Picture In Picture feature (multiple videos side by side; no limit in max videos)
Easy learning curve - or at least has a large community base so tutorials are vast
Able to put audio in (I mean, what video editor can't anyway? Haha)

I'm going to be using it to make videos of me playing multiple instruments, so if there are any other things that I need to know about videos that I might not be seeing now, feel free to let me know with your answers.


text:
What lighting setup is recommended for filming a presenter in front of a TV screen?
i will be filming a presenter in front of a 48" TV with graphics on it. The presenter will be pointing at the graphics at times to explain certain things.
We will be doing this in a tiny studio on a shoestring budget. Do you have any recommendations at all on how to light the presenter? Are there video lights or setups i can use, that will not blend or glare in the tv screen?
We will probably be using a consumer grade video camera and dump the video material into an editing suite afterwards. It's mainly the presenter and the TV what will be in the shot, i'd say a medium close up.

If you can't use green-screen (the ideal), I'd recommend a couple of things. First, use a screen with a matte surface to reduce specular reflections and present more diffuse ones. These are somewhat rarer that glossy ones.
Second, angle the screen slightly top-forward, to deflect some reflections down and away from the camera. A slight parallax won't be too noticeable. Same goes for a slight off-axis view right-to-left
Third, try a polarizer in front of the taking lens to dampen some reflections.
Last, use cutting flags on all fixtures to minimize the amount of light that actually touches the screen. If you keylight from two directions, you can help avoid hitting the screen. Diffuse fill light is much harder to flag effectively.
Good luck. I'm sure others here will have more suggestions.

doesn't sound like OP has much of a choice about which TV to use, but +1 for everything else.  edit  I know 3M makes aftermarket anti-glare coating for displays, but the reviews are pretty bad.

I have read your fourth and last tip over and over but i really cant figure out what you mean or what a "cutting flag" on the "fixture" is...
Apart from that, thank you (both) for the tips! I haven't used stackexchange before (but i will), and i don't know if its customary to say thanks in the comments, but this was really quick and insightful advice.
I presented the case for a photo dealer, something like B&H, and for a budget setup they recommended three camera lights on tripods:
http://www.scandinavianphoto.se/kategori/13264279/kameralampor

@jake Sorry, that's lighting jargon. Flags / cutters are opaque mechanical devices designed to prevent light from a fixture (a lighting instrument) from spilling onto certain parts of a scene. Many fixtures have, or can attach, barndoors -- a set of four moveable flaps that offer basic flagging. But for best control you'd use separately mounted cutters. Google 'lighting flags cutters scrims gobos kookies' etc for more info.

Ideally you would take care of the images on the screen in post-production, whether it be green-screening or motion-tracking. OBS is a free program that can do the green-screening for you, just ask the presenter for the images that will be on the screen.  You can also do motion tracking using something like After Effects, Boujou, or Smoke.
If none of that is an option, try to dim the overhead lights and light the speaker by reflecting your lights off of the ceiling and floor so that they are coming at angles that won't cause glares for the camera. Additionally, you can ask the presenter for the slides he will show and cut to those slides while the presenter discusses them.
One other thing to remember is that audio is key to a presentation like this. You want a microphone as close to the speaker as possible, whether it be a lavaliere on the speaker or a shotgun sitting in the front row. Avoid using the mic on your camera if at all possible.

Thanks for the tip! We won't be able to do green screen at this stage, but it's always interesting to hear about new video software projects such as OBS.
And yes, we will be using a lav mic with a zoom sound recorder.  :)

If you can, record the video going to the TV separately while recording the speaker.  Shoot the video from a stable tripod.  After shooting, overlay the feed from the TV directly over the TV.  This will replace any glare on the screen and ensure you have the highest possible quality looking screen and allow you to only have to worry about ideally lighting the speaker with no regards for glare on the TV.  This also removes many of the problems that can occur related to display flicker from display refresh mismatches as well.
You can do the same thing with a moving shot using motion tracking, but a tripod makes it a one and done kind of thing that requires less tweaking.

Oh,i should probably have mentioned: the presenter will in fact be partly in front of the TV, interacting with the content. So with that in mind, for your solution to work then i suppose i would need to do manual "rotoscoping" work? To mask out the presenter i mean.
If the TV would be standing "by its own" however, this would definitely be a good approach though!
If you click this link you can see a sloppy sketch of our studio setup.
https://docs.google.com/drawings/d/14mZLz6J84wblF0Z7H6dw7033wkIeVtjkpVFxSxL6hOo/pub?w=794&h=1096

@Jake - ah, that does complicate it a bit.  At that point, the fall back is to use Jim Mack's suggestion and either greenscreen the presenter or greenscreen the display.  You might be able to get ok results with a difference map as well, but I've never tried that and glare could cause issues.  Overall, yeah, that complicates things a lot.


text:
Can 'fifo' filter write to the same stream in avconv?
I would think that there should be a way to explain to fifo filter to write to the same output stream. But when i test that hypothesis with the following:
avconv -i 01.webm -filter_complex 'split [s1][s2];[s1] fifo [f];[s2] fifo [f]; [f] copy' -c:v libtheora -an out.mkv

I get the error:
Output pad "default" for the filter "Parsed filter 1 fifo" of type "fifo" not connected to any destination

What i figure is that the second fifo grabs the [f] stream and it no longer is writeable by the first one. But would there be a trick or something to explain to the filter that it is in fact my intention for two filters to dump something into the same place?
P.S. This is not a software choice request. I am trying to figure out how to do this with libav.


text:
jvc recorder .ced file
I recorded some videos using a JVC recorder.  Now I am trying to upload those videos to my PC, but the format it .ced.  How do I play/convert this file to a different format on my pc?

how big is the file?

According to this post on Adobe's forums, the CED file is an attempt by the camera to save a corrupted video file that occurs when the memory card is not formatted in a way it can write video correctly.  It may or may not actually contain a usable video stream depending on what went wrong.  I couldn't find any PC tools that would open it reliably, but JVC might have something if you check with them.

You might want to whack it with MediaInfo (note the Windows GUI comes with adware, but the CLI version doesn't). If it can find stuff in there maybe we can save it. You probably can rescue it with ffmpeg if MediaInfo can find something in it. You can double check this with ffmpeg's ffprobe too.


text:
How to get ffmpeg/x264 to use same parameters as input?
I'm trying to accomplish a smart rendering workflow using ffmpeg/x264. In short, get ffmpeg to segment the input file. Locate the segment(s) with changes to be made. Re-encode altered segments with same parameters as source. Concatenate altered + original segments.
Problem: the resulting video turns garbage when it first traverses from an original to altered segment or vice-versa. Most likely, because the altered chunks and original chunks differ in some bitstream parameters, or possibly some GOP boundary issues are at play.
So,
1) is there a way to tell ffmpeg/x264 to generate a concat-with-source-compliant output?
2)If it's GOP related, what do I look for in the source and what do I tell the encoder?
Thanks,
Gyan


text:
iOS 8 Video Editing App That Lets You Hear The Audio While Trimming?
I'm interested in making perfectly-looping Vine videos of me playing guitar riffs. I'd like to shoot and edit these videos on my phone (iPhone 5, iOS 8.1), without using a desktop editor. Is there an app that allows you to hear audio while editing?....
Now that you can import videos created elsewhere into Vine, I thought this would be a pretty straightforward thing. However, in order to create a video of this type that loops the way I want it to, I'll need to be able to hear the audio while trimming the clip in order to set the start/end points correctly…and every video editing app I've found silences the audio when you're in editing mode. Right? Am I crazy?
I've tried:

iMovie
Splice
uh...a few others I can't remember right now

If anyone knows of a video app that lets you hear audio while you're editing and could tell me about it, I'd be eternally grateful. I feel like I must be missing something here…
Thanks!

I think you are missing the fact that a smartphone is still a pretty low power device for doing any kind of video editing.  They don't have a lot of resources available, any editing software available is extremely limited and really, unless you have some pressing need to do it, you will have a far easier and better quality time doing it on a desktop.  I'm not sure that any phone based tool is far enough along to support what you are looking for as it sounds like you've looked at most of the few attempts.

Thanks, AJ. This is a pretty basic editing task, though, and the phone is plenty capable in terms of raw power and UI (though, as you point out, perhaps no one has yet created an app that can do it). Anyone else have an idea? Thanks!

Keep in mind phones aren't as powerful as they may at first seem.  Yes, modern smart phones have processing speeds measured in Ghz, just like desktops and they have multiple cores, however they are not the same kinds of cores.  ARM chips are designed for low power operation and have a reduced set of instructions compared to an x86 chip in your PC.  Many of the functions that are cut out are functions that were introduced on PCs to help with things like processing video and images.  This means that when it comes to advanced operations, phones aren't nearly as powerful as you might think.

There're many great video editing apps in the AppStore. Unfortunately, I'm not allowed to name a specific app according to the StackExchange policy (my previous answer was banned). Some of them play sound while you do video editing (trimming, applying video effects, etc.)
For sure smartphones now have enough computational power to do very complex video editing, they have GPU for even better performance. As a such kind of apps developer I admit that only a tiny fraction of professional desktop video editing software features couldn't be implemented on a smartphone. The major limitation is the screen size. It is freaking hard to make an intuitive user interface and a great user experience on such a small screen.

Note that if you are going to be active on the site and answering other questions as well, it is fine to mention your own application by name (and even link to it).  You just have to clearly indicate that you are one one of the developers of it and not have the majority of your answers be promoting your app.


text:
Is the difference between full- and crop-frame DSLR footage noticeable and disrupting?
For a short film my friend has two Canon DSLR's available, one full-frame and one crop-frame camera (5D Mark II and 550D).
Would it be very noticeable in the end result if footage from both cameras is used after one another?
Can the difference be covered up in post so one can cut from one camera to the other without feeling that something is off?
I expect the difference caused by the sensor to be negligible compared to the change in footage that is caused by the use of different lenses and filming angles. However, I might be overlooking something.

There are several sources of difference, but you should be able to handle them all with some work.  The first difference will be depth of field.  A full frame camera has a shallower depth of field at a given angle of view because it can achieve the same angle of view with a longer lens.  You can compensate for this by using a smaller aperture (higher f/value) for the full frame camera to make the full frame field of view wider, or you can simply ignore it as differences in depth of field between shots won't be that noticeable.
The next major issue will be color reproduction.  Different camera models will likely have a different feel in terms of their white balance.  If they are both balanced to the same grey target, it probably won't be that far off, but there will be some differences in shadow detail and the like, so you may need to do color grading of the footage to match the color of the footage.  This is typical anyway as color grading should be done to achieve the final look you want for the color.
Finally, you will need to be mindful of the crop factor of the APS-c camera which will result in a smaller field of view for similar lenses.  You will also want to consider the relative quality level of the lenses being used on each camera.  These may have a noticeable impact on the overall quality of the final video as well.
So, overall, there shouldn't be any issues that can't be adjusted for, but be aware of what you are doing and be prepared to make some basic corrections in post to adjust the footage to look similar.  You also want to make sure you use similar export frame rates and compression options so as to ensure similar file quality.  It is worth noting that most of these distinctions apply for any two different cameras though, not specifically crop vs ff.


text:
How do I hang a kino flo from the ceiling?
I have a four-foot single bank kino fixture that I need to mount on the ceiling of our media lab.  It needs to be angled precisely because it's for lighting a green screen (currently, it's mounted on a low stand on the floor, but I'm trying to get it out of the way).
The ceiling is drop tile, hanging 20" from the subfloor above.  Ideally, I'd like to fasten the light very securely to the subfloor via some type of hanger.  Telescoping hangers sound like a good way to get through the drop ceiling, but all the ones I've found are designed to clamp to a lighting truss, which we don't have.  I've seen drop ceiling scissor clips, but they don't look sturdy enough for a light of this size.  So far, the best thing I can come up with is an 18" wall stud to the lolipops we already use, but I don't know if it's safe or wise to use either of these upside-down.
I would appreciate any insight from more experienced grips, links to more information, or ideas about better forums to ask.  Thank you very much.

I'd probably try the lollipop, just be sure to wire it to safeties (safety cables) anchored directly to the subfloor as well.  This will prevent it from falling in the event the lollipop fails.
I'd probably do some weight tests of the mount before putting it up as well to make sure it is strong enough to hold it in position well.  There is certainly no reason such a mount couldn't be strong enough, I just am not familiar with that particular one.


text:
After Effect: Create Stroke from Motion Track Path
In After Effect, I tracked a moving object in my Video with the Motion Tracker. There I got Keyframes, which I want to use.
Now, I would like to show the path of my object in the Video. I thought to use the stroke effect, to get one stroke that is builded when it "follows" my object. The goal is, that the stroke shows in the end the path of my object.
Do you know how to accomplish this task?
I don't now how to modify the position keyframes from motion tracker that I can use them in "stroke". (Thought also to interpolate them with bezier, but what's next?)
Thanks for your help!
Max

Select the motion keyframes & copy. Now create a new mask on the layer on which you have the stroke effect, any old mask shape will do. Set its mode to none. Now select the mask's Mask Path property and paste. The mask can now be used to provide the path for the stroke effect (it's the first property in the stroke effect). You have to directly select the Mask Path property, just pasting it on the layer will paste it to the position property of the layer.

Because there's always more than one way of doing things in AE:
You can also create a shape layer with the pen tool. Once you've done expand the new shape layer until you see the Contents>Shape 1>Path property (it could be called Shape 2, 3 etc) and paste the motion path on to it. Then you can use it as a normal stroked shape layer.

Note As Alyssa points out below, when pasting a motion path to some other property you have to explicitly select that property, otherwise AE will just paste it on to the layer's position.

Like stib said, make a shape layer and get to that shape 1/path 1/path spot, make sure you've selected path, and paste the keyframes. ***make sure when you copy the path go to EDIT then COPY. If you straight up ctrl/cmmd C it'll only let you paste in position.

Not sure how to do this with the stroke effect.
But you can use a particle generator set the movement and physics to  0  and link the particle source to the trackpoint. This will generate a stroke of particles, and if you ramp up the amount of particles you can make a solid line.

That could be used to generate interesting particle effects, but it's a very computationally intensive way to draw a stroke, given that there's a couple of methods for drawing strokes built-in to AE.


text:
Can someone suggest a software for video format conversion for Mac?
I am newbie to this video world and have started using a Canon G7X to shoot video (I shoot casual video of my babies, family outings etc). Could someone help me find a good software which I can use to convert the video (codec, frame-rate, aspect ratio etc.).
Why I need such a software? Because G7X allows me to shoot 60p video and my TV (Samsung smart TV) does not play anything beyond 30p.
I also understand that I can shoot 30p video directly from camera; however, I would like to create some slo-mo videos as well.
Also, I am planning to buy a Nikon D810 this holiday; so I will be taking good amount of video.
I use MacBook pro retina (15") laptop, so, kindly suggest Mac compatible softwares.
Thank, NN

Free: MPEG Streamclip
Paid: Movavi Converter

I've used Handbrake to compress things for my AppleTV and other situations. The interface is not great, but it has some common useful presets that work well.

FFMPEG which is like the Swiss army knife of video. If you don't know how to use command line, either try FFMPEGX, or (better) learn to use the command line.


text:
Lavalier vs. cardioid mic for low-budget amateur DSLR video recording?
I have a Canon T5i DSLR, and I take occasional videos in parties, family gatherings, kids playing, birthday parties, etc. The internal mic is really bad, especially in noisy environments.
I am thinking of buying a cheap microphone to connect to the camera.
Which one you would suggest for an amateurish/multipurpose use: Lavalier or cardioid shotgun?
Stuff I am looking for: ease of use, noise cancellation, and enhancement of the audio record quality.
Thanks

It depends no how far away you are shooting from and how centered your subject will be.  You definitely DO NOT want a lavalier mic for your situation.  They do offer very nice noise reduction while not requiring a boom operator, but they still require setup and distinct micing of each speaker.  This will not work at all in your use case.
You absolutely want a shotgun mic, no question at all about it.  The question becomes, how focused of a shotgun mic do you want?  This is a trade off kind of thing.  The more focused the shotgun mic (moving from cardioid in to supercardioid and then hypercardioid on most mics, but some manufacturers label differently apparently).  The narrower the mic's sweet spot, the less noise you will get, but the closer your subjects will have to be to that sweet spot to be audible.
If you are shooting from a long way away or shooting pointed directly at someone, then a hypercardioid mic is the way to go to get the least interference and focus in the most on that spot.  If, instead, you are going to have a lot of people, all over the frame, and right up next to the camera, then you want just a plain cardioid mic on top that can pick up a wide space of sound, but it will also pick up a lot more noise.
Look at pick up patterns and try to visualize where people will be.  You ideally want them to fall in the coverage circle for the microphone if you were looking top down on the scene.

I use the Rode Video Mic's for both my DSLR's when filming weddings and they give a good sound. around £50-70 they cost I think
I normally have them attached at all times (when sound is needed) as it does give a fuller sound while getting some of the ambiance out of the picture.


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Which mic to buy for amatour dslr video shooting: RØDE VideoMic vs. Zoom H1?
My  gear is a Canon T5i DSLR, and I take home made videos in family gatherings, kids playing, birthday parties, etc. The internal mic is really bad, especially in noisy environments.
I am thinking of buying a cheap microphone to connect to the camera.
Which one you would suggest for an amateurish/multipurpose use: shotgun; RØDE VideoMic or Zoom H1 ?
Stuff I am looking for: ease of use, noise cancellation, and enhancement of the audio record quality.
Thanks

For the H1, X/Y micing is a good option for an improved stereo room mic, but isn't going to be as focused as a shotgun mic. The input is nice, but doesn't really buy you much over the built in 3.5mm jack that many DSLR's already have. 3.5mm also isn't a professional audio connection, so it greatly limits the selection of microphones available. It does give pretty decent sound quality, though I don't believe it is the best quality in the price range if memory serves (but I haven't looked in a while.)
For the Rode VideoMic, it is much more focused on what is directly in front of it.  It has pretty good quality (probably a little bit better than the H1) but it also won't pick up everything the H1 does (both noise and any actual sounds you want that are off to the sides).
Ultimately, it primarily comes down to which picks up what you need to pick up.  If you want stereo, then the H1 wins hands down.  If you need to pick up the sound of the room overall, the H1 also wins hands down.  If you need to focus in on a particular subject in the middle of your frame or at a distance and need minimum background noise, the VideoMic wins hands down.
If you have a mix of situations and needs, then the H1 is probably a little bit more versatile, but the VideoMic is probably a little bit easier to use as it is designed to plug directly in to the camera instead of being it's own recorder.  Additionally, with the VideoMic, more of your money is going in to the microphone itself since they don't have to worry about the audio recording hardware that has to be worked in to the H1.

Thanks AJ. If you recalled any other sub-100 mic options that you'd like to recommend  please let me know.


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What softwares are used to produce this video?
https://www.facebook.com/video.php?v=732070063514894&set=vb.410157642372806&type=3&theater
I have no experience with any video production softwares but I need to do something similar to that video. are there any specific softwares that can produce something like this?

You may be interested in this question.  We've had a number of questions very similar to this in the past, so I'm attempting to make a catch-all answer that should be able to cover this kind of situation.  Please let me know if you find it helpful or if it leaves you with any additional questions.

You will need some kind of 2D animation program to do this. After Effects is one possibilty.
However, these are advanced animations. Without any experience, it will take quite some time to learn how to do this and achieve similar effects. If you're not willing to put some time in it, you don't even have to start ...

After effects could be a good place to start, and I'd say with little experience, if you did go down that route, would be to look for templates. Search around for things like "infographics templates" or "motion charts" or "animated graph" charts templates or tutorials, just to point you in the right direction but those are just words off the top of my head.
--
update: with a 2 minute google search i found this, albeit far simpler tutorial on animating graphs in powerpoint http://www.presentation-process.com/powerpoint-chart-animation.html#.VHIiIoepQVk and here's one that's a bit less colourful http://www.ellenfinkelstein.com/pptblog/create-the-effect-of-a-line-drawing-itself/ . basically google is probably your best friend at this point, with keywords like graph, animation, presentation, creator.


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What are motion graphics?
What are motion graphics?  What software can I use to create them?  What should someone trying to produce a video with motion graphics know?

This is intended as a canonical Q/A for the large number of very similar motion graphics questions we get.  Please feel free to edit the question and post your own answers to help cover the subject as best as we can.

Motion graphics is a form of 2d or 3d animation based around moving graphics.  It can include such things as moving titles, animated presentations and graphs, animated background (motion backs), whiteboard animations, animated product demonstrations and more.
It can range in complexity from relatively simple (such as basic moving titles) to extremely advanced multi-layered projects laid out in 3d using numerous interacting objects.  Software such as Adobe After Effects and Apple Motion are often used for producing motion graphics.  It is also possible to produce some motion graphics in Adobe Flash, though it is more designed for pure 2D animations.  At the time of this writing, there wasn't much in the way of good open-source motion graphic software.
Motion graphics can be deceptive in the apparent simplicity when well done.  If you have no experience in the field, you should be prepared to encounter a lot of issues and challenges when trying to make a really good looking motion graphic.  It takes animation, graphic design and editing skills to produce a very high quality motion graphic and the tools themselves are complex beasts that can take a while just to learn the tool-set.
If you are looking for a professional looking motion graphic on a quick time table and you have no experience in the field, your best bet is likely to hire an experienced professional to do the work for you.  If you are looking to do it for your own purposes, it is an interesting field, but be sure not to set your bar too high.  Start simple and learn from there.  It is a field that can take months to years to get good in.


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Launch a AfterEffects rendered in background with cmd update
I am trying to find scripting code that allows me to open a CMD in Windows and lauch AE render of the current project queue in background.
Also, if possible, to get the output back in that cmd window.
Thanks.

After Effects has a seperate executable for the render engine.
Have a look at this article from Adobe for some usage examples and an overview of the commands.
http://helpx.adobe.com/after-effects/using/automated-rendering-network-rendering.html
aerender -project c:\projects\project_1.aep -comp "Composition_1" -output c :\output\project_1\project_1.avi

As you define the output file yourself you already have the path available. As soon as the command finished you know your file is done rendering and you can process it further.


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How to automate the rendering of all possible combinations of a composition in Adobe After Effects?
I have a composition used to display current scores for a match on a tournament. It shows the two teams banners on both sides and their current scores underneath them. The scene also has various animations and effects.
The rounds are best of three so the different combinations of scores are 0-0, 1-0, 2-0, 0-1, 0-2, 1-1, 2-1, and 1-2. So the way I'm doing it now is: change the numbers, render composition, and repeat for all combinations.
As you can see, this can get tedious and time consuming as it has to be done for every combination of teams as well.
I would like to know if there is a way to automate this process or a more efficient way of carrying out these steps.

To automate things like that you will have to write a script for After Effects. This isn't all that hard, it just requires a bit of programming knowledge. You can see them as more powerful type of expressions that can actually control the whole program not just your comp, so you can mage changes to your layer based on certain other aspects. For example you would make a simple for loop in your case that iterates 5-6 times depending on how many different versions you have and let it go through every possible score you have. You can probably automate it completely with a bit more math.
Unless you haven't unticked it during installation you have the Adobe ExtendScript Toolkit installed, which is a code editor where you can write and launch scripts for various Adobe programs. The recommended language to use is Adobes own JavaScript flavor also called "Extend Script" but you can also write in OS specific scripting languages like Apple Script or Windows Batch script.
Then take a look at the JavaScript documentation in the help menu and have a look at the After Effects specific scripting guide: http://blogs.adobe.com/aftereffects/files/2012/06/After-Effects-CS6-Scripting-Guide.pdf
Some version specific changes and more info can be found here:
http://www.adobe.com/devnet/aftereffects.html

I hope there is a better answer, but my similar case is making lower thirds where I have to change out the name.  In that case, I have a static composition with the title that I use as a source in other compositions.  I then create a text layer for each name, hide all but one, click through to the final render comp (using the parent/child links) and start a generation for each.
It's still manual, but it is a relatively quick way to get them dumped out.  In your case, you could do one comp for the team logos and one for the scores (or just do two sets of layers in the same comp.)
Alternately, you may be able to render the background blank and then render the text and graphics layer's being animated without the background render.  This can save time if the background animation is difficult to render and the composition allows for alpha blending to meet the needs.  I wouldn't generally bother with that added complexity unless the background being pre-rendered would save a lot of time though.

AJ, I gave you an up-vote because I what I think you're saying. I think you're saying don't render every combination; render each individual score. So render all the "0-", "1-", and "2-" scores. Then render the second half of each score:  "0", "1", and "2". Then you can combine those layers to get all the combinations: 0-0, 1-0, 2-0, 0-1, 0-2, 1-1, 2-1, and 1-2. Separately, render the banner for each team individually. At the end, you can combine the layers as needed. (If that's not what you're saying, I'll delete my comment ... but leave the up-vote!)

That is actually a decent additional enhancement to do each side of the score as a layer to reduce the number of layers needed.  I was more specifically talking about having one layer for each value you need in a "source" composition in After Effects and then using that source in your animation.  It is then a relatively simple matter to activate the appropriate layers and run the export.  It's still manual, but you can make a process of clicking through it pretty fast.  Alternately, rendering a blank and then rendering the text layer separately also works.

If you're editing in Premiere CC you could save the comp as a template and then edit the text values of the scores in Premier. https://helpx.adobe.com/after-effects/how-to/create-animated-text-titles.html


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Darwin Streaming Server 6.0.3 won't send Closed Caption track
I can get the captions if I stream the Quicktime file through a link on my webserver, but if I try to stream the file via Darwin Streaming Server, the audio and video come through, but no captions.  The QT browser plugin has no option to enable captions so the caption track just has to come from the server. Or is it the plugin's fault? Any thoughts?  Let me know if more info is needed.

I have no direct experience with DSS, but it appears, from what I could find online, that DSS does not support streaming a text track.  Rather, you seem to need to reference a non-streamed version that has text data.  I unfortunately couldn't find much more on what the one place I found mentioning that intended, so I'm sorry that it isn't very clear, but it was the best I could find.
Hopefully someone else has actual experience with DSS and can provide better guidance than I.


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How to find clip of video belongs to full video?
I want to check is there any way to compare portion of video(video clip) with full video?
for example: if i have a particular video of scene in a movie and full movie video, how to check whether these clip belongs to that movie. if i have thousands of clips and thousands full movies, how can i find which clip belongs to which full video.

If the clips both have the same audio track, you can use audio fingerprinting techniques to identify them. Apart from that, OpenCV can do similarity checks on video: http://docs.opencv.org/2.4/doc/tutorials/highgui/video-input-psnr-ssim/video-input-psnr-ssim.html
And BTW. if using the audio fingerprinting method, as you can see with Shazam or musicbrainz.org seems to be managable from the amount of data.

If you can figure that out, sell it to youtube or google... what you are talking about is a MASSIVE database of all the movies ever to exist and some sort of algorithm that can categorize and sort those millions, maybe billions, of terabytes of data in a fast and efficient way to compare them with a random user inputted movie scene. This is much like what youtube currently does with their copyright protection system, however on a much more data rich scale.
If online content providers had this 'software' there would be far less pirated content.
So the answer to your question is, there is no easy way of doing this, nor is there a program that exists that does this.

YouTube does that! I uploaded an excerpt of newsagency footage for the students of a workshop I did and YouTube detected it was from a copyrighted source and asked me if I wanted to proceed (with informing the copyright owner).

youtube does it on the basis of audio, not video, two very different things, and it would only work with footage that has ALREADY been uploaded to youtube and thus has a unique track fingerprint. moreover, this is also the case with stock audio as alot of stock websites upload their stuff to youtube's content management so that they can make sure its being used with licenses.

So what, using the audio clip to match videos is one solution for the problem of the original question posted here... As the author says, he has thousands of clips and thousands of videos, so I think you are assuming things the OP wants to do which he never mentioned.

And BTW, video fingerprinting also exists and IS used already. https://en.m.wikipedia.org/wiki/Digital_video_fingerprinting

First off, youtube doesnt have an open api to connect to the content management. OP is assuming thousands of examples, and undoubtedly few are posted on youtube (legally/without being taken down). Sure you could use audio fingerprinting but it doesn't change the fact that you need a huge and complete database as well as terbytes of storage for fingerprint comparators. Secondly, you mention video fingerprinting exists when it primarily exists as a marker/header/hash in the file (which can be stripped, and usually is when uploaded online).

I refer you to this part in the wiki doc "when employing hash methods, a comparison for absolute equality may fail even when two video segments are perceptually identical."

My point being is an actually all encompassing program to do this does not tentatively exist, and would be incredibly costly to both create and manage. Not to mention the algorithms to do a true analysis would take immense amount of time (frame analysis).

Unless you have investigated this issue before, I wouldnt jump to conclusions. First off, OpenCV is a library that deals with these kind of tasks specifically. It has bindings to all major programming languages. Second, I didn't say he should use any YouTube api to fingerprint his videos, I just mentioned that YouTube is comparing uploaded clips against already existing content. If you actually Know they are using audio fingerprinting, then yeah, that's one way to do it. He didnt mention he is using videos without audio, did he? Also he never mentioned any scale of the project, maybe it's no

Problem for him to supply petabytes of data storage, at least I didn't read that in his question so I still think you are making a lot assumptions on what exactly he wants to do.

And one last thing, you are also jumping to conclusions in terms of video fingerprinting... Quote from Wikipedia: Video fingerprinting analysis may be based on any number of visual video features including, but not limited to, key frame analysis, color, and motion changes during a video sequence.

I'm not jumping to conclusions if you read my last comment that should be apparent. Further, YouTube does infact use audio to match clips, and this is mainly for the reason that is more efficent. You seem yo be just throwing wikipedia information out there without any context ... I also code so I have a general idea about these things. With that being said yes I am making assumptions based on what op wants to achieve. However the fact of the matter is their is no open source methodology of doing this on the scale he wants to do it in. Which was my point.

Yes, there may be no ready to use software for his specific task. But there is a ready to use machine vision library, which can do exactly what he wants. It is highly optimized and what do we know: maybe he can code himself, maybe he has some brilliant coder on his team? Maybe even he has a lot of money to achieve the task stated in his question! That's what I mean by assumptions. If he is a guy with an outdated PC and no coding skills, all your assumptions are true but I doubt that is the case or he wouldn't have "thousands of clips and films" to process, as he stated in his question.

Well if he did have a group of capable coders he wouldn't be asking such a question here and would have most likely provided more of a targeted question. Also the SDK you posted was for motion estimation so teaching machines a ball is a ball ... Hardly could handle something as complex as scenes.

I don't understand your problem, some examples from the about of OpenCV: These algorithms can be used to detect and recognize faces, identify objects, classify human actions in videos, track camera movements, track moving objects, extract 3D models of objects, produce 3D point clouds from stereo cameras, stitch images together to produce a high resolution image of an entire scene, find similar images from an image database, remove red eyes from images taken using flash, follow eye movements, recognize scenery and establish markers to overlay it with augmented reality, etc.

The library has 2500 thousand algorithms and is extended all the time.

You can even download a finished progran if scene detection is what you want to base your fingerprinting on: https://github.com/Breakthrough/PySceneDetect


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Blending Two Shots for Continuity
I have been watching Zach King videos on YouTube (the Vine magic guy) and I'm curious how to edit two shots together so that body movements stay the same, yet an element is brought into the shot.  I'm ot even sure what the name for this is.
An example is in the link below.  In the first two Vine videos starting at 3:03, he clearly meshes two shots together somehow but the placement of his body stays consistent.  Immediately after, he makes it appear as if he pulled a cat out of his computer screen (again, obviously two shots) but his body movements stay consistent.

Very easy to do, well theoretically.  On cut actor freezes his body, friends places the prop - in this instance the cat, on action the actor continues his movement.  The quicker and non intrusive the introduction of the prop, the less movement the actor will have and the more seamless the cut will look.
The main thing to remember here is to be prepared to have a lot of takes.. it will take time to get it right.

It would seem there would be another way to do this, is this the only way?

also, a lot of the shots are shot twice on a tripod, making them easier to match up.  then in software, camera shake gets added to the whole composite to make it look more realistic.

There are cameras/apps that can overlay an image over the live viewer. You align yourself as perfect as possible to your old position and continue your movement. You don't necessarily need to stay still while someone dresses you with new props, the way kaljack describes it also doesn't work with scene changes.
Its all a matter of making the right cut and being able to replicate your motions very well. If you would analyze the videos frame by frame you would be able to see a few flaws. Your eye misses a hell lot of details in videos, compared to looking at a still images. Just how regular magic tricks work, you just make everything fast and distracting enough.

Alternately, you can green-screen what the actor is interacting with and shoot as one continuous action of the actor or you can green screen the actor in to the rest of the shot.  Either option requires careful coordination and work, but it is another option in addition to the stop action approach that kaljack mentions.


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Calculating loss when converting from MTS to AVI using FFMPEG
I am using the following script to convert my MTS video to an AVI video:

for %%a in ("*.mts") do ffmpeg.exe -i "%%a" -vcodec libxvid -s 848x480 -maxrate 4800k -b 4000k -qmin 3 -qmax 5 -bufsize 4096 -acodec libmp3lame -ac 2 -ab 160k -y "%%~na_xvid.avi"

I have very little background in image editing - I found the above script through some google / forum searching, and it served my purposes quite well.
However, for the paper which I am writing, I have been asked to mention what degree of loss there was from the conversion, and whether that had any impact on my results. I know from the end result that there was no impact, however, I would still like to be able to mention in the paper a more accurate response as to what the percentage of loss was from the conversion.
Can anyone help me out with this? Thanks in advance!

Audio does not concern me for this paper. Regarding why MPEG-4 Part 2, the MATLAB script which I had written required the video to be in AVI format. Also, the video conversion is not being done for human viewing - I have a MATLAB script which then does a pixel-by-pixel analysis of the video. Regarding the spatial loss, what sort of loss are we referring to? Edges being cut off?

Your paper is asking for an impossible data point unless you have some method of evaluation specified.  By definition, lossy compression results in a loss of data.  Modern lossy compression is very good at discarding data that is not visually meaningful to people, but it is still discarding data.
The amount of data loss when related to a human viewer is thus very subjective and can't be measured.  There are specific methods for comparing the source and output videos for differences and determining loss mathematically, but you need a particular choice of method to apply and you simply apply it.

I'm not sure what you mean by method of evaluation. To clarify what I'm using this conversion for, my original video was recorded using a JVC camcorder in .MTS, and the converted video was read into MATLAB for use in a pixel-by-pixel analysis algorithm.

@KiranRamaswamy then perhaps they want you to come up with your own approach for evaluating the difference.  When you use lossy encoding, the input and output may look similar, but at a pixel by pixel level, they will be vastly different due to quantization error (which is why the compression works).


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Flash effect with Adobe Premiere
How can we simulate a camera flash with Premiere Pro? I know the stroboscope effect but it's not very realistic.

Insert a single white frame and/or crank the brightness up very high for one frame.  A photo flash  is very fast (much, much less than a single frame) so the impact in video would only be for one frame of video.


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Best free tool for video compression on Mac
I'm editing 'every day' videos with Adobe Premiere like holidays videos. Footages are taken from SLR cameras. I need to share those videos and of course compress it before.
Several years ago, i used to use Virtual Dub to do so but i remember that it wasn't trivial at all and i guess that other tools came up since.
In this context, what's the best free tool for Mac which performs good enough compression without huge efforts of configuration?


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How to colorise black and white movies?
What techniques are used to colorise old black and white movies? Are there different techniques? How to choose the right technique?

If you're interested in how the pros do it, this article on Wikipedia explains it. I'm not sure what software is available to consumers. I believe the pros write their own in many cases. (Plus a lot of it can still be done by hand in one form or another.)

Convert movie to pictures (1 second = 24 pictures ; so 1 hour = 86,400 pictures ; average 90 min. movie = 129,600 pictures). Colorize every individual picture using the DeepLearning API which gives decent results comparable to the hand-colorized movies of the late 20th century. The Solomon Society uses this to convert old newsreel footage and other curiosities with impressive results.
It sounds like a lot of work, and it is (actually the work is simple but repetitive & massive), but a modern PC with an upper class video card, maximal RAM and a ton of free disk space should be able to pull it off fine given some time.

It is a largely manual and labor intensive process.  Each object is manually identified and assigned colors.  Computers can help by providing tracking of objects within a scene to apply some initial values for each frame, but it still comes down to manually picking the color of everything.
The problem is that black and white footage only provides information about luminance and luminance on an object is highly variable as it moves through light and shadow.  There is no information at all to be able to determine the color, just how brightly the color would have been.  The colors have to be chosen based on what people would expect it to be (green grass, skin tones, blue sky, etc).
There isn't any software available to consumers for doing this that I can think of.  Might be able to find a plug in for After Effects or something, to make tracking masks and apply tints that way, but even that would be tricky.  There isn't really an easy way to do it since it effectively comes down to painting the old footage, even if a computer provides some basic assistance.

Does Convolutional Neural Network based Image Colorization using OpenCV make sense to you? You may try it from Git colorization
Good luck!

DeOldify allows you to recolor old stills and videos. They have a free Google Colab page you can use if you understand a little code.


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Exporting with transparent background in premiere
I exported a video that starts with fade in and it is transparent so when I put it in another project I won't need to add keyframes every time.
The problem is that the video is "jumping" - watch video here (720p to see better):

I exported with QuickTime format, 32 bit depth and:

"Animation" video codec, 60 fps, Field order: "Upper First", aspect: square pixels(1.0), quality: 100 and the rest as default.
"Animation" video codec, 29.976 fps, Field order: "Upper First", aspect: square pixels(1.0), quality: 100 and the rest as default.
"Animation" video codec, 29.976 fps, Field order: "Progressive", aspect: square pixels(1.0), quality: 100 and the rest as default.
"Apple ProRes 4444" video codec, 60 fps, Field order: "Upper First", aspect: square pixels(1.0), quality: 100 and the rest as default.

I tried all of these export settings and the same problem with everything. Any suggestions?

Do you need to choose "Millions of Colors+" when you select Animation codec, to make sure it generates an alpha channel? Also if it's an animation, you probably want progressive, not interlaced (upper/lower field first = interlaced)

Depending what you are exporting for, whether it be later use in Premiere or transfer to another NLE like Final Cut, you can save your footage as an AAF or XML which will keep all the original timeline information unencoded.  You will still need access to the original footage for this.  This is probably a better solution than exporting with alpha and importing to a separate project.

As far as alternatives go, using After Effects and importing the After Effects comp as a source would also be a decent option for alternatives, but it still seems like what he is trying to do should work for a fixed leader.

Well, when all else fails you just have to hack it until it works.

I used to try that regularly, but I ran out of masking tape to put my video tapes back together... and masking tape doesn't work nearly as well on CF cards.  Couldn't get it to defragment.

The AAF and XML files aren't working (Like there is no editing), any other suggestions?

You could try what AJ suggested, I know nothing about After Effects so I can't elaborate on his suggestion.


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Adobe encore - Highlight button with image
My question is simple, is it possible to add images as highlights to buttons with Adobe Encore?
I have just tried it and it appears a white box instead of my image when I hover buttons in my DVD menu. I've been searching around and didn't find any solution. Found some people with the same problem but I don't find anywhere a solution for this problem.
I did my menu in Photoshop as named the image layer as (=1) Hightlight so it would appear when I hover buttons and appears the white box instead of the image.
Best regards.

Sounds like it may be some kind of a processing glitch.  Menus don't actually do an overlay when you mouse over them, they display a different image.  If you export one button with highlight and one without, you can specifically set the hover image of the button to be the one with the highlight.  You specifically have options for selected, unselected and hover.
If you need more detail about how to do this specifically, I can put together some screenshots when I get to my editing workstation, but I seem to recall it being relatively easy to find in the properties of the button.


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Video desyncs with the audio over time
I record footage with OBS and do voiceovers recorded in audacity. I process the audio in audacity, then sync the audio with the video. However, since I started doing it this way, the audio and video are not syncing up.
It starts out fine with a definite sync point (countdown from 3 and then I do something like click on something) but as the video progresses, the video starts lagging behind the audio. near the end of a 20 minute video, the disparity is nearly 3 seconds.
Someone brought up framerate. the footage is 30 FPS and Lightworks lists the audio as 24 FPS. The mic is set to 44100 Hz as well, if that helps.

Make sure the sample rates in both systems are the same. I don't know what OBS is, but if I was using Final Cut for video editing, I would make my project 48kHz, and make sure any external recordings were also at 48kHz. Even with the same sample rates, audio will drift over periods of more than a few minutes. Either sync it up manually in chunks, or use something like Pluralize to do it for you. (Or have a fixed sample clock  between all your devices when you record- probably not possible)

But the video is 30fps. what would I change to reflect that?

The frame rate only refers to video. Audio isn't split by frames - you should only need to set sample and bit rates to be the same.

Interesting that LW shows it as '24 fps' since audio technically doesn't have a frame rate, which is a video concept.
As @tomh suggests, make sure the sample rates for the project is 48K, and that you export a 48K WAV file from Audacity.
If that doesn't cure, you can use Audacity to 'pre-stretch' the audio by some percentage. Find sync points near the beginning and end of the piece (the longest stretch you can), then compute the difference as a ratio. Using 'Effect..Change Tempo', apply the inverse of that ratio. It's possible that this number will apply for everything you do, so write it down... (-:

How do you set the sample rates in audacity if you don't mind my asking? Audacity has a hell of a lot of buttons.

There's no point in resampling the audio to 48kHz, unless your video software is going to do that anyway.  (project rate is set in the bottom left corner.)  The important point is finding a sync point at the start AND end, because the clock for your audio runs at a slightly different speed from your video.  You can either stretch the audio with audacity, or tweak the video FPS from what it thought was 30fps back to ACTUALLY 30fps, assuming your audio clock was accurate.  ffmpeg -vf setpts=...

oops, mis-stated things for the video stretching case:  A camera with an inaccurate clock will think it's recording at 30fps, but actually record anywhere from 29.95 or 30.05.  I've only done one of my samples so far, but probably the same speed-correction will work for others.  So what I did was stretch the video to match the audio, ending up with a 29.97fps video (coincidence that that is close to color NTSC fps), because that's what my digital camera actually recorded at, assuming my laptop audio samplerate clock is accurate.

In the question Sync separate audio to video+bad-camera-audio, free NLE recommendations I detailed how I manually did A/V sync for audio recorded separately from the video, with audacity and ffmpeg.
44.1kHz vs 48kHz has nothing to do with the drift.  The problem is that the camera's clock isn't exactly the same speed as the laptop's clock, so even though they both think they're recording 1 second per second, they drift relative to one another.  You need to stretch the video or the audio by 3 secs per 20mins, not just resample.

The other answers both cover the ideal case pretty well, but there is another less ideal case.  Depending on your type of video, it is possible you have either bad clock sync or dropped frames.  Bad clock sync will hopefully be corrected by the stretching method Jim Mack mentioned, but if the clock is irregular (pretty unlikely in this day) then you could have something pretty much unsalvageable without a lot of manual effort.
The more common issue that can be seen is dropped frames.  In the event that either the camera, or in the case of anything on tape, the transfer lagged, then frames can be dropped from the video.  In the event of dropped frames, audio can drift when the missing video information is skipped.  For these cases, you have to try to identify where the dropped frames are and drop audio from those points to stay consistent with the video.  Again, this is a pretty painstaking and manual process, so I hope that one of the other answers helps before you get stuck with one of these non-ideal scenarios.


text:
Are there any free ways to increase the framerate of a video?
Suppose I have some footage at 30FPS that I'd like to have a copy at 60FPS with tween frames generated by interpolation (at this point I don't care too much about potential quality or artifacts.) And suppose I'm working on a tight budget, so I'd need stand-alone software that's free, or free plugins to other software that's free1. What options are available at this (lack of) price point?
Through my own Googling, the only thing I've been able to find is: Convert videos to 60fps. Unfortunately the software doesn't work for me (after installation, it won't open! :D), and after tons of troubleshooting I'd rather look for a different method.
I know that there are things like Twixtor out there, but right now they're beyond my budget, so any suggestions would be appreciated.
1. I'm willing to hear solutions that do involve money, but the cheaper the better!

What OS are you on? What software do you already own?

@user1118321 I use Windows 8 and Fedora Linux. I do most of my editing with both ffmpeg and kdenlive.

what about creating image sequences and then using somehting like ImageMagick to interpolate between the frames.
So (assuming bash, zsh or similar shell) this should work:
mkdir tempdir
mkdir outputdir
ffmpeg -i input.mov -f image2 tempdir/temp_%06d.png #create a png sequence
len=$(ls -1 tempdir|wc -l) #count the files in temp dir
for f in {0..$len}
do
    old=printf %06d $f #number of current frame
    next=printf %06d $((f+1)) #number of next frame
    new=printf %06d $((f*2)) #number of output frame from current
    newInt=printf %06d $((new+1)) #number of output frame from interpolation
    convert -morph tempdir/temp_${old}.png tempdir/temp_${next}.png outputdir/output_${newInt}.png #create the intermediate frame with imagemagick
    mv tempdir/temp_${old}.png outputdir/output_${new}.png #rename the old frame with a new number and move it to the output dir
done
mv tempdir/temp_${next}.png outputdir/output_${new}.png #move the last frame
ffmpeg -i outputdir/output_%06d.png <<codec etc. options here>> output.mov

basically that creates a temp folder, makes a png image sequence from ffmpeg, creates an intermediate by morphing the two frames into each other using imagemagick, and turns the output image sequence into a movie.
If this is too slow you could do a quick and dirty interpolation by just blending the two frames together. In that case you'd use
composite -dissolve 50 tempdir/temp_${old}.png tempdir/temp_${next}.png outputdir/output_${newInt}.png

in place of the convert -morph... line
Obviously you'll need to have imagemagick and ffmpeg installed, and you have to substitute your input and output filenames and preferred output video file format and codec etc options.

You can have a look at slowmovideo:
http://slowmovideo.granjow.net/

Whilst this may theoretically answer the question, it would be preferable to include the essential parts of the answer here, and provide the link for reference.


text:
The ideal wood for the DIY slate?
I am planning to create a DIY slate/clapperboard. What would be the ideal wood for the clapper? I believe that the main qualities of the ideal wood would include, but not limited to, the following:

Toughness : the ability to withstand lots and lots of clapping.
Sound : it should make the snappiest and loudest sound compared to other woods; although, I am not sure whether there is a major difference among the types of woods.
Budget : Of course, we should always try to keep our costs as low as possible.

What type of wood I should be looking for?

Larch, naturally. (-:

@JimMack Really? Why would you say that? I thought that hardwoods would be more preferable than softwoods, such as Larch.

sorry, it's a Monty Python reference. If I had an actual response I would have made it an answer, not a comment.

What about a tablet? Less romantic, but there are slate apps that do the job, and you can see them in the dark. Just for my information, what are you shooting on? Unless you're shooting film, then even if you're recording on a separate audio device you can use the on-camera sound as a synch track and automagically synch with software such as FCPX, Premiere or Pluraeyes.
Otherwise, a good dense hardwood should be fine. The old wood slates I've used were plywood, with a hardwood strip along the jaws.

I would consider acrylic instead of wood... It is just me.

I'm not really sure there is an ideal wood.  In fact, it really doesn't even need to be wood.
The entire point of a clapper is simply to make an audible sound that comes from an easily visible source.
As long as the sound is loud, short and crisp you are fine.  If you wanted, you could have your three year old be the clapper instead and just give him two pots to bang together.
The convention of a clapper is simply because it is a convenient device that also allows for indicating other meta data about the shot.  The clapper part is just included so that you can also capture the audio sync data without needing another device.

agreed here but if you still want to make one, I would use a hardwood for the clapper bit and a bit of plywood for the face. Otherwise you could use some PVC strips which would be longer lasting

Otherwise they are not that expensive to buy when if your interetsed, eBay have some decent ones http://www.ebay.co.uk/itm/Mini-Acrylic-Clapboard-Dry-Erase-Director-Film-Movie-Clapper-Board-Slate-UK-BL-/291307821448?pt=LH_DefaultDomain_3&hash=item43d34c9988 I bought one of them for abotu £20 I think, saved me time and effort trying to make one, but its up to you if your still set on making one


text:
Warp stabilizer in Premiere Pro cuts off most of the image
Has anyone seen this problem before? When I apply (and only when I apply) the warp stabilizer, it seems like only 1/10 of the video shows up.
Here's a screenshot:

It works on older versions of Premiere for me, and it happens in the latest (CC 2014) no matter what I do or what clips I use from different sources.
Thanks in advance!

What resolution is the video and the sequence?  Have you tried changing the playback engine?  Do all clips behave similarly?

720p, both the clip and sequence. All clips behave the same way.

Not truly a solution, but a workaround for me was to change to software rendering from GPU rendering.

The root of the issue might be your footage. If you have high amplitude shakes in your video the stabilizer will try to stabilize those as well. That can result in such issues.
Try different settings, the default values don't work with every type of camera motion.

I've tried multiple pieces of footage and changed all the values - even did a completely still clip and it still did that. It works fine on an older version of Premiere, so the clip is fine.

Then you might want to try changing the playback engine as AJ Henderson suggested. Could be an error from the GPU engine.

To fix extreme crops when using the warp stabilizer effect.
First try the settings
Modify settings:
Click on the advanced settings, and choose the following settings:
Reduce either the smoothness OR
Crop Less and Smooth more which is a better option to try first since it does not require a restabilization phase.
(on a side note)
If you are getting a wobbly effect then that is down to the rolling shutter effect of the camera and to fix that you would need to set Advanced > Rolling Shutter Ripple to Enhanced Reduction.
For extreme crops:
Another way I resolve those issues is to 'razor tool' around the area where the biggest 'shakes' occur causing the warp stabilizer to crop drastically.
I then redo the warp stabilizer effect for those two side clips separately, leaving the middle one untouched.
I can now choose to remove the middle clip or employ a different transition effect.


text:
Which (video game) recording program fits for these criteria?

Record games
File size has to be small (fps doesn't need to be higher than 30, resolution is only 720×480)
Barely uses cpu
The program does not lock the framerate or anything else that changes my gaming experience
Paid or Free
No watermarks

Note relating to file size: is it possible to record 10 hours and use 100gb or less?

None.  If you want low CPU/GPU usage and small file size, you need a hardware encoder.  Period, end of story.  Games are CPU/GPU intensive and video compression is also exceedingly demanding on CPU/GPU.  Programs like FRAPS capture video smoothly by postponing the compression until later and instead save video as very large, minimally compressed files.  This works because most games do not make intensive use of the disk drives.
You can either capture in large files with minimal impact and then batch transcode them to a smaller size or you can buy a dedicated hardware encoder that can take the load off the CPU and GPU. Those are your only two options.
Update: If you only need 10 hours to fit within 100GB, then you might be ok for an SD feed.  It doesn't really have to be that highly compressed at that low of resolution.  It is still going to hit your CPU or GPU though, so gaming performance will be impacted, just not quite as badly as trying to do something like h.264.
I'd probably start by trying something like a DV codec and see how your computer handles it.  Millage will vary based on how much your computer actually needs for the game.  Hardware encoders or software encoding after the fact are still the best option overall though, since they maximize the quality of the recording.  (Fast compression is not good compression unless it is specialized hardware.)

The best program that runs on the CPU is Open Broadcaster Software.  It can be complicated to use, but there are plenty of online tutorials and it uses almost no processing power.  You can change the settings to get the file size you want by adjusting the bitrate, quality, and resolution.
If you have an Nvidia GTX GPU, the best option would be Geforce Shadowplay.  It is a completely free program provided by Nvidia with the Geforce Experience.  It runs entirely on the GPU, so it won't slow down your CPU at all.

Free: Fraps
Commercial: Movavi Game Recorder

As for the output video format - choose H.264 in MP4 container. This provides a better quality and a small file size

-1, fraps is not free and it still takes quite a bit of CPU or GPU to encode to get small file sizes.  The default file sizes are very large, which runs counter to what this question is asking for.

oops, you are right, sorry :)


text:
Color shift after exporting!
I've a bunch of videos from different sources that i need to export, i'm mainly using Sorenson Squeeze 9 for videos that i just want to transcode to another format or change bitrates, and Premiere Pro for editing and exporting videos, the problem is that both programs change the color of video, in other words, the exported file has a different color if compared to the original file. But i actually don't had touched any color parameters on both softwares. I  tried to compensate that difference with color effects but since i don't know nothing about color i reached no results.
Anyone have a clue why this is just happening?
Original File:
https://images.creativecow.net/287027/originalfile.png
Exported File:
http://images.creativecow.net/287027/exportedfile.png

I think this could be to do with "color space". I've had similar issues with exporting videos from After Effects. Exporting using "REC 709" Color space usually gives me the colours I expect. You can read more about how Adobe handle different Color spaces here:
http://wwwimages.adobe.com/content/dam/Adobe/en/devnet/aftereffects/articles/color_management_workflow/ae_color_mgmt_wkflow.pdf
(PDF is offline, archived here: https://web.archive.org/web/20170830000622/http://wwwimages.adobe.com/content/dam/Adobe/en/devnet/aftereffects/articles/color_management_workflow/ae_color_mgmt_wkflow.pdf )

Did you have any idea how can i change to Rec. 709 on Sorenson Squeeze?

hi tomh, which Rec 709 do you mean? in ae cc 2019 there are a lot of Rec 709. HDTV (Rec.709) ? or Rec.709 Gamma 2.4 or Rec.709 PQ ?


text:
How to animate the size (width and height) of a rectangle animation in after effects?
I want to change the height of a rectangle bottom - top from 0 to 1080px starting from position -1080 to 0. How do I do that? By default the transform does not have a size. It does have a scale but it's blurring out the edges when I'm trying to do the same with it.

I'm not sure what you are saying.  Are you saying you want to have a box start as a line on the bottom of the screen and expand upward to fill the screen?  And that when you try, the edge ends up blurry?  Are you sure this is a bad thing, motion blur tends to make motion look more smooth.

Yes. Start as a line and fill the screen by expanding upwards. Using AE CC

Why not just start with a full screen square and simply position it off the bottom of the frame.  You can then simply animate it moving up.  Even if you have something on the square, it will generally look better to slide in than stretch in.  If there isn't anything on the square, it will look the same either sliding or stretching in if I understand your scenario correctly.

If you're working in an HD comp (1920x1080), and create a rectangle that fills the screen,then a horizontal scale of 100% equates to 1920, and a vertical scale equates to 1080.
I think you might be having a problem with your anchor points. If you want to scale from one corner of a rectangle, then you need to move the shape's anchor point to a corner before you scale it up or down. Have a read about the "pan behind" tool.

First it's important to know which version of After Effects you use. It might be different from one version to another. But in general all parameters of an element can be changed over time. If when you select an element there is a small stop-clock you can select to change this parameter for different positions in your timeline. When you activate the stop-clock you can change the position, height and so on for every point in you timeline.
It's very hard to explain this just by words. You can learn using AfterEffects best by watching some tutorials on YouTube ;)


text:
How to show a character in black and white mode with colorful background?
I want to show a character in black and white but the background/environment he reside remains colorful.
I heard that through rotoscoping it will be possible.
Is it correct? Could anyone please suggest techniques to achieve this.

Have you already filmed your scene? If not, then the easiest way is to film your character against a blue or green screen, key out the background, apply a monochrome filter to the character, and insert your other background.
If you have already filmed it, you can try using a color correction filter on the character, but it's very unlikely you'll be able to easily isolate the character properly with just a filter, unless the background is a solid color which doesn't appear anywhere on the character.
So your other option is rotoscoping which is very difficult and often tedious work to look good.
What software are you using, by the way?


text:
no sound in mp4 Sony Vegas
I haven't been using Sony Vegas too much, but this has never happened to me before...

All my videos look like this.. I can playback no problem, but without sound. It's mp4.
What could be the issue?
Thanks

Do the videos actually have sound?  Are they using an audio codec that Vegas understands?  It appears that Vegas thinks there is no audio since no waveforms are displayed.

It's working already.. I had to reencode the videos with Handbrake. Don't know where the problem was..

authors: وصفة الشيخ الروحانية


text:
How come my Adobe Illustrator file doesn't show up in After Effects?
I had created an Adobe Illustrator animation/illustration file with 9 layers each depicting a drawing that progresses.
I tried to import the file to Adobe After Effects successfully, but the image/drawing doesn't show up.
I have recorded a video of it here:

Anyone know why? What can I do to have the illustrations show up on the Effects screen?
Thank you,
Jae

Probably everything comes out black because both the background in After Effects and the outlines of your illustration are black. The white background in Illustrator actually is an alpha channel, so you're just putting black on black ... Try changing the color of either the outline of the illustration or the background in After Effects.

In the video above you did a black drawing on a transparent background did you not? So I'd guess AE is just showing you the black drawing over a black background. What happens when you change the background colour of the comp, or turn on transparency grid.

Are you manually animating in illustrator and then bringing them in as individual frames in After Effects or are they independent assets?  After Effects treats Illustrator files as images that are displayed across multiple frames and the background is transparent.  You then animate them in After Effects itself by positioning and scaling and such.
If you have multiple layers in Illustrator, you also need to decide which layers are imported as your asset.  You can either flatten it or use individual layers when importing.

Ok, will try that. Thank you. I also recieved a reply stating that I had simply created a black screen. When I change the screen to transparent, the image/drawings show up:
http://youtu.be/krBytvYLjsA

I had the same problem. What worked was to save the AI file as CS3 compatible. Now it showes up again

I had the same issue over and over again. I finally realized that my computer was so slow that it was showing me layers as if they were all black at first and after a couple of minutes they started showing up.

Hey this is a really late answer but when you save as an .AI file, make sure you have the "Create PDF Compatible File" checked off. I ran into the same issue but once you check that box you should be good to go.

Its just the really bad implementation of the new code in CC. Adobe have released too many versions without adequate testing. They have made the suite rentalware so there is less pressure on them to produce high quality updates. As a result, their software is full of bugs.

It is true that Adobe CC quality has been very poor for a long time, but that's not a useful answer to the question.  It is at best a comment.


text:
Tips to make professional looking hand-held videos using smart phones?
Phone Model I have: Nokia 808 PureView
fps available: 15, 24, 25 30
720p & 1080p videos can be recorded using this phone.
I am trying to make videos using hand-held techniques. But whatever I shoot has an amateur feel attached to it. Any tips/techniques to shoot good professional looking videos.

Very, very closely related https://video.stackexchange.com/questions/12114/how-can-i-make-professional-video-using-an-ipad

Don't shoot handheld and don't use a phone.
Baring that, use stabilization such as a steadicam or steadicam jr (if using a tripod really isn't an option), use lots of well controlled lighting (phone cameras suck at low light) and plan your shots out very carefully.  Use external audio recording rather than the phone's built in mic and do a lot of grading of the color in post.  By the time all is said and done, getting a better camera is likely a cheaper option for the most bang for your buck, though any camera would benefit from the other mentioned options.
It is exceptionally hard to get a professional quality result out of using a phone camera.  There is a very valid reason that most decent video camera costs more than your average smartphone, and the camera in a smart phone is a very small portion of the actual cost of the phone.
There have been projects where smartphones were used to produce professional results, but these have more been marketing gimmicks done by experienced professionals and it made their lives more challenging rather than easier.  Trying to get similar results without a lot of experience is going to be quite challenging.

I didn't want to say it but I totally agree with you @ajhenderson

The big issue when shooting with phones is not the resolution, it's the dynamic range.  Your videos will have low contrast and the colors won't be very vivid.  Although I've never seen reviews of the Nokia 808, I imagine it also suffers from noise in low light conditions.  To fix the issues with contrast and color, run your footage through a color correction program like Davinci Resolve Lite (free), Adobe Speedgrade (comes with CC), or Apple Color.  Davinci Resolve is my personal favorite, it is very intuitive and it will make your videos look much more professional.
If you don't want to invest in a steadicam like Adam suggested, you can also use a stabilizing feature in a program like Adobe After Effects, The Foundry Nuke, or Autodesk Smoke.  Just keep in mind that stabilizing footage in post means you will lose some of the information around the edge of the shot and the resolution will lower slightly.

+1 overall, but I'd add that software stabilization of smartphone footage is also likely to have substantial motion blur wobble artifacts as well.

getting a steadi-cam for the mobile phone can make a difference, they are not that expensive from the likes of eBay or Amazon and can take the hand shake out.
if there is something particular that you are trying to achieve, maybe you could explain it a bit more with maybe a few images or example of what your getting and what you want

This is what I am trying to achieve- http://en.wikipedia.org/wiki/Hand-held_camera. Can this be achieved using a smartphone?? @Adam Mann Pro

I would suggest getting a DSLR then, trying to achieve anything along those lines will make life very very hard for filming, as you dont have any control over the focus, light etc etc


text:
Changing the aspect ratio of a video
I have a video (.mpg) and currently it has the wrong aspect ratio (16:9).  I now want to change it to the correct aspect ratio (5:4).  How can I do this?
I know that on VLC player I can change the aspect ratio while the video is playing.  However, I am wondering if there is a permanent way of changing the aspect ratio, such that each time this video is played, it is in the correct aspect ratio?
Thank you.

It's easy to do this with FFmpeg which is run from the command line.
Method 1 – this will size the video appropriately and encode the result in H.264 MP4 format:
ffmpeg.exe -i inputfile.mpg -vcodec h264 -s 720x576 -aspect 5:4 outputfile.mp4

Method 2 – this will set a hint in the file as to the size it should be displayed at (with no recompressing or quality loss). VLC should respect this although not all players/editors will:
ffmpeg.exe -i inputfile.mpg -vcodec copy -aspect 5:4 -acodec copy outputfile.mpg

Method 3 – if you detect a decrease in the quality of the MPEG you can compress it at a high-bitrate MPEG-2:
ffmpeg.exe -i inputfile.mpg -vcodec mpeg2video -aspect 5:4 -acodec pcm_s16le -b 30000k outputfile.mpg

Good luck!

If this doesn't work for you try to explain me better what doesn't work with the ffmpeg

Thank you.  Can someone please explain how to write these code?  I am not very good with videos editing so I am a bit confused.  Do these codes need to be run from a command line?

Yes! You must to download the FFmpeg from his homesite www.ffmpeg.org. After you download the binary you can put this code onto command line (cmd on windows or Bash in Linux), and execute it. If you have problems doing this, please, let me know.

Thanks.  So after downloading the zip file, which file do I need to open and what do you mean by download the binary?  I have a windows computer.  Thanks a lot for your help.

Ok! First of all sorry for my delay answering you. So, once you download ffmpeg.zip from www.ffmpeg.org you must to unzip all the content in a folder. After of this you must to navigate to this folder with the command line. You start the command line with cmd. When you have the command line opened you must to go to the ffmpeg/bin folder and start to write your instruction. for example: c:\ffmpeg\bin\ffmpeg.exe -i video.avi -vcodec h264 -s 720x576 -aspect 16:9 -acodec mp3liblame -b 1536k output.avi and press intro. The ffmpeg main program will start to work. And that's all folks! ;-)

Thank you so much for your reply but I am still struggling with this.  I can't locate the ffmpeg file or the bin file.  Are these files in the unzipped folder?  I don't seem to be able to find them :(

Probably the best way to go about this is to import the footage into an NLE like Premiere, Lightworks, Edius, or Final Cut, then export the footage with the correct aspect ratio.  I imagine there is also an FFmpeg command to do this, but I am not familiar enough with it to tell you.

Most video editors and encoding applications will allow you to specify the pixel pitch when running the video through them.  This does result in one more generation of loss, but would give the proper pixel pitch for the video.  (In Premiere for example, you use Interpret footage.)
There may also be tools that can directly manipulate the pixel pitch listed in the video's meta-data, however I am not aware of any such tools off the top of my head and some brief searching didn't turn any up.


text:
Problems while implementing RTMPT server
I'm working on the RTMPT server. Seems, that all done correctly, tcpdump's logs shows no difference with Red5. Flash Flowplayer successfully passes handshake, creates and starts stream, initializes metaData, but playback doesn't starts.
I tried to sent exactly the same data as Red5 (dumped with tcpdump), but the result was the same.
How it can be? What am I doing wrong?
Thank you!
Just ask if you need more information.
Dumps:
http://79027.selcdn.com/stuff/capture_rtmpt_h264_live_red5_baseline.cap (working, red5)
http://79027.selcdn.com/stuff/capture_rtmpt_proxy.cap (working, red5 through custom proxy)
http://79027.selcdn.com/stuff/capture_problem.cap (wrong; my implementation)
P.S.: video is in h264.

You may have better luck with this on SuperUser or ServerFault.  In depth configuration of RED5 is really more server related than video production related.

@AJHenderson but this question is not about configuartion but about development.

That likely makes it even less on topic here I'd think.  RED5's "development" is really more configuring end points though than I would really consider it development.

@AJHenderson but where I should ask this? And this is NOT about "RED5's development", the question is about implementing custom RTMPT server in C++.

Probably stack overflow then.  I would suggest adding some code from around where the problem is first though.


text:
Gapless audio in video
It's possible to produce mp4/webm videos without sound that loop seamlessly, but if you add sound to the video with matching length it adds a noticeable stutter at the end, even if the audio is slightly shorter than the video.
Is it possible to produce a web friendly (mp4/webm) video with sound that is gapless?
I use Adobe products and ffmpeg to produce my videos, if that matters.

This can happen if the GOP structure is unclosed at the end of the video. If you can assure that your video ends with an I frame, and that the audio is exactly the same length as the video, you stand a much better chance of getting a smooth recycle. Sorry, I don't know how to force that using ffmpeg.

Thanks for the info, helped me learn a lot about how encoding works. I was able to figure out how to set the keyframe interval and make sure the last frame was a keyframe but it didn't change anything. I have a WebM video that loops seamlessly with ffplay but not in Chrome/Firefox, it seems like they just don't support gapless video/audio playback.