text:
Converting AE animations to SVG with bodymovin
I have been trying to export an After Effects animation of an aurora borealis (made with Flux) as an SVG for a website, but every time I export it looks a bit low res and takes up to much space to be applied to a web page. I tried to render it first as a PNG sequence and the render it with bodymovin but the problem still persists. Can anyone help pls?

If you have no alpha-channel and would like to run the animation on your website (as a background for example), I would highly recommend you encode it in h264 .mp4 format, with about 3-6 MBit/s and 2 passes VBR to lower the filesize further. Also take a look at your framerate, as you could get away with 20 frames for a slow animation. I wouldn't go above 30fps. I hope I could help you, if not, please comment on my post.

Bodymovin works best for things like shape and text layers, that can be described by the SVG language. SVG is a bit like html, it contains instructions on how to render the content, rather than the actual images. For example if you wanted to draw a circle 256px wide, rather than create a raster image of a circle, and provide the colour info for each pixel in the 256x256 pixel grid (over 65 thousand pixels, each with red, green and blue value) you can make an svg that does the same thing thus:
 <svg height="100" width="100">
     <circle cx="256" cy="256" r="40" stroke="black" stroke-width="3" fill="red" />
 </svg>

It's also scaleable. If you resize it up to 500px there will be no quality loss, because it's rendered on the client machine.
However, if you have content that can't be described in the SVG language, such as raster (pixel grid) images such as jpegs or pngs, or video, it can't just describe it, it has to embed the raster into the output, meaning that SVG will not be any more efficient than just using an <img> or <video> element.
PNG sequences are great as a lossless intermediate for transferring video on a local machine with lots of storage, they completely fail as a web codec. Web codecs are highly efficient at reducing file size with minimal perceptible quality loss, so they're what you need for the flux output.
TL;DR as Florian says: use h.264 encoded video.


text:
After Effects doesn’t handle premultiplied images correctly
I’ve been told by various people in the industry that AFX doesn’t handle premultiplied images correctly and I’ve been able to verify this myself in my own pipeline. I’m just not sure if we are all wrong or missing something or this is just the way it has always been?
I don’t use AFX at all in my pipeline for production but I do have it to check deliveries to vendors who do use AFX. Our pipeline is all EXR/Nuke and everything works fine with premultiplied images.
When I convert these known good images to TIFF 16bit fixed point for AFX they only look correct with straight alpha. I’m converting to straight alpha buy running an ‘unpremultiply’ operation in nuke on the source images. Both the TIFF converted premultiplied and straight files still work fine in Nuke.
However the premultiplied ones don’t look correct in AFX. There is a light colored halo around soft edges. It’s actually very hard to see this edge artifact in AFX depending on the background that is being composited onto. I usually composite onto pure red to see this bright halo. And yes I’m interpreting the premultiplied images correctly in AFX as ‘premultiplied on black’. Also setting blend colors using 1.0 gamma makes the problem worse.
I just want to check if this is just a known issue that people just use wacky work arounds for or they simply don’t even notice and thus never bring it up.
Below is a screenshot of AFX showing the artifact.

source: Stack Exchange

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

sort: votes


text:
most efficient pipeline for rendering large documents in after effects
I've been making a lot of videos using multi-page A4 size PDFs in AE.
What's the most efficient way to do this? The renders take a while.
Things I've tried:
1) Split PDF to 1 file per page
2) Convert to PNG? Or jpg? (which is more efficient?) At high dpi (like 600 dpi so I can zoom in nicely on them).
3) Paper texture beneath, then pre comp
then parent all the pre-comps together so I can scroll up and down.
I think this is faster and looks as good as Collapse Transformations on a PDF file layer, but I'm not sure.
Final output is HD 25fps - turnaround time on the videos is an issue, so any speed up would be welcome!
Any advice welcomed - some examples of the videos below:

I believe that using pngs from the pdf is the best compromise between quality and speed. Your main concern being the render-time? If so, (I am sure you have, but just to be sure) have you checked if you're using Hardware-acceleration? You should also purge your cache frequently and have both the footage as well as your cache-directory as well as the project files on a fast medium, like an ssd.
I'm not certain with how familiar you are with those standard optimization techniques, so I'm just throwing this out there. If there's a different problem, please elaborate.

all good points - thanks!

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


text:
When using ffmpeg, getting "Non-monotonous DTS in output stream 0:1; This may result in incorrect timestamps in the output file." errors
I have an m3u8 file consisting of .ts files like:
#EXTM3U
#EXT-X-VERSION:3
#EXT-X-ALLOW-CACHE:NO
#EXT-X-TARGETDURATION:7
#EXT-X-MEDIA-SEQUENCE:0
#EXT-X-PLAYLIST-TYPE:VOD

#EXT-X-DISCONTINUITY

#EXT-X-DISCONTINUITY

#EXT-X-DISCONTINUITY
#EXTINF:3.856
http://v.link.to.file.com/6774.ts
#EXTINF:3.854
http://v.link.to.file.com/6775.ts
#EXTINF:3.853
http://v.link.to.file.com/6776.ts
#EXTINF:3.853
....

I use ffmpeg with:
ffmpeg -i https://link.to.file/clip/21/335.m3u8 -c copy pd.mkv

However, upon running I get a large number of warning messages with
[http @ 0x614ab40] Opening 'http://v.link.to.file.com/6774.ts' for reading
[matroska @ 0x6196fc0] Non-monotonous DTS in output stream 0:0; previous: 2691798, current: 96743; changing to 2691798. This may result in incorrect timestamps in the output file.
[matroska @ 0x6196fc0] Non-monotonous DTS in output stream 0:1; previous: 2691859, current: 96846; changing to 2691859. This may result in incorrect timestamps in the output file.
[matroska @ 0x6196fc0] Non-monotonous DTS in output stream 0:1; previous: 2691859, current: 96869; changing to 2691859. This may result in incorrect timestamps in the output file.
[matroska @ 0x6196fc0] Non-monotonous DTS in output stream 0:0; previous: 2691798, current: 96775; changing to 2691798. This may result in incorrect timestamps in the output file.
....

Is there something wrong I am doing? What is the correct set of commands for the best quality stream? Thanks.


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How to Merge Multiple MP4 videofiles using concat of ffmpeg while transposing 180 degrees two MP4 videofiles
How to Merge Multiple MP4 videofiles using concat while transposing 180o two MP4 videofiles?
Currently, i am using the following ffmpeg (concat) command:
ffmpeg -f concat -safe 0 -i VIDEOFILES.txt -r 32 -crf 14  -vcodec libx264 -vb 20M -vf "scale=1280:720,setpts=0.25*PTS" -fflags +genpts  -an   video_output_01.avi

How can I, in the same time, transpose two MP4 files 180 degrees?
Note that i used the following HEX code hack HERE "True lossless rotation of MP4:
" to rotate MP4 video files 180 degrees but ffmpeg ignored that information during encoding time!
What I can do?

I finally found out how to do it!
ffmpeg -f concat -safe 0 -i VIDEOFILES.txt -filter_complex  \
 "[0:v] fps=32, scale=1920:1080, vflip, hflip, setpts=0.25*PTS, fifo [v0]; \
  [0:v] fps=32, scale=1920:1080, vflip, hflip, setpts=0.25*PTS, fifo [v1];
  [v0][v1]concat=n=2:v=1[out]" -map "[out]" -crf 14  -vcodec libx264  -vb 20M  -loglevel error  video_out_01.avi

concat: concetrate files
VIDEOFILES.txt: video files with path
included, eg. file '/path/a.mp4' (including file)
fps=32, scale=1920:1080: drop to 32 frames, and reducing video resolution
vflip, hflip: 180 degrees rotation of the video
setpts=0.25*PTS: Four times speeder
fifo: a ffmpeg filter that it says to wait frame
to be fully processed before it is given to the next process --- due
to some filter process frame quicker than others e.g. due to frame
drop (?)
crf 14: High quality ensured (0 = uncompressed)
vcodec libx264: codec to compress the video file
vb 20M: video bitrate (a high one)
loglevel error: ffmpeg output information only errors will be displayed

BIG Questions:
A) I tried to reverse the order of filters eg.
[0:v] setpts=0.25*PTS, fps=32, scale=1920:1080, vflip, hflip,  fifo [v0]
However, it was extremely low.
The commands are executed seriasly? Then, why I must recode every frame, when only 1/4 of them will be kept? How can I do that in order to gain recoding speed?
B) Why I need FIFO eventually. This must be not the default behavior? All frames that are kept must be processed from all filters! Right? Why then ffmpeg drop frames without being processed? this is the meaning of FIFO? Right?
UPDATE: ffmpeg 4.2.3 freezes when multiple video files exist e.g. >5

I am still looking for a solution


text:
Too many arguments in ffmpeg, concat, filter_complex command, what I am doing wrong?
I am using the following ffmpeg command with filter_complex:
ffmpeg -i GOPR0013.MP4 -i GOPR0013.MP4 -filter_complex "[0:v:0]fps=32,scale=1920:1080[v1],[v1]vflip[vF1],[vF1]hflip[clip1], [clip1] [1:v:0]fps=32,scale=1920:1080[v2] [v2] concat=n=2:v=1 [v]"  -vcodec libx264  -map "[v]"  video_out_01.avi

However, it says:
 "Too many inputs specified for the "fps" filter.
Error initializing complex filters.
Invalid argument"

What I am doing wrong?

I finally found out how to do it!
ffmpeg -f concat -safe 0 -i VIDEOFILES.txt -filter_complex  \
 "[0:v] fps=32, scale=1920:1080, vflip, hflip, setpts=0.25*PTS, fifo [v0]; \
  [0:v] fps=32, scale=1920:1080, vflip, hflip, setpts=0.25*PTS, fifo [v1];
  [v0][v1]concat=n=2:v=1[out]" -map "[out]" -crf 14  -vcodec libx264  -vb 20M  -loglevel error  video_out_01.avi

concat: concetrate files
VIDEOFILES.txt: video files with path
included, eg. file '/path/a.mp4' (including file)
fps=32, scale=1920:1080: drop to 32 frames, and reducing video resolution
vflip, hflip: 180 degrees rotation of the video
setpts=0.25*PTS: Four times speeder
fifo: a ffmpeg filter that it says to wait frame
to be fully processed before it is given to the next process --- due
to some filter process frame quicker than others e.g. due to frame
drop (?)
crf 14: High quality ensured (0 = uncompressed)
vcodec libx264: codec to compress the video file
vb 20M: video bitrate (a high one)
loglevel error: ffmpeg output information only errors will be displayed

BIG Questions:
A) I tried to reverse the order of filters eg.
[0:v] setpts=0.25*PTS, fps=32, scale=1920:1080, vflip, hflip,  fifo [v0]
However, it was extremely low.
The commands are executed seriasly? Then, why I must recode every frame, when only 1/4 of them will be kept? How can I do that in order to gain recoding speed?
B) Why I need FIFO eventually. This must be not the default behavior? All frames that are kept must be processed from all filters! Right? Why then ffmpeg drop frames without being processed? this is the meaning of FIFO? Right?


text:
Ffmpeg freezed while encoding 37mb video file from Action Camera
I tried to encode three video files from my action camera and ffmpeg freezed.
The video file was 37mb, without any prior manipulation.
 ffmpeg   -i GOPR0019.MP4 -i GOPR0019.MP4 -i GOPR0019.MP4 -filter_complex   "[0:v] scale=1920:1080, fps=50, vflip, hflip, setpts=0.33*PTS, fifo [v0]; \
  [0:v] scale=1920:1080,  setpts=0.33*PTS, fifo [v1];
  [0:v] scale=1920:1080, fps=50, vflip, hflip, setpts=0.33*PTS, fifo [v2];
  [v0][v1][v2]concat=n=3:v=1[out]" -map "[out]" -crf 14  -vcodec libx264  -vb 20M    video_out_01.avi
ffmpeg version 3.4.6-0ubuntu0.18.04.1 Copyright (c) 2000-2019 the FFmpeg developers
  built with gcc 7 (Ubuntu 7.3.0-16ubuntu3)
  configuration: --prefix=/usr --extra-version=0ubuntu0.18.04.1 --toolchain=hardened --libdir=/usr/lib/x86_64-linux-gnu --incdir=/usr/include/x86_64-linux-gnu --enable-gpl --disable-stripping --enable-avresample --enable-avisynth --enable-gnutls --enable-ladspa --enable-libass --enable-libbluray --enable-libbs2b --enable-libcaca --enable-libcdio --enable-libflite --enable-libfontconfig --enable-libfreetype --enable-libfribidi --enable-libgme --enable-libgsm --enable-libmp3lame --enable-libmysofa --enable-libopenjpeg --enable-libopenmpt --enable-libopus --enable-libpulse --enable-librubberband --enable-librsvg --enable-libshine --enable-libsnappy --enable-libsoxr --enable-libspeex --enable-libssh --enable-libtheora --enable-libtwolame --enable-libvorbis --enable-libvpx --enable-libwavpack --enable-libwebp --enable-libx265 --enable-libxml2 --enable-libxvid --enable-libzmq --enable-libzvbi --enable-omx --enable-openal --enable-opengl --enable-sdl2 --enable-libdc1394 --enable-libdrm --enable-libiec61883 --enable-chromaprint --enable-frei0r --enable-libopencv --enable-libx264 --enable-shared
  WARNING: library configuration mismatch
  avcodec     configuration: --prefix=/usr --extra-version=0ubuntu0.18.04.1 --toolchain=hardened --libdir=/usr/lib/x86_64-linux-gnu --incdir=/usr/include/x86_64-linux-gnu --enable-gpl --disable-stripping --enable-avresample --enable-avisynth --enable-gnutls --enable-ladspa --enable-libass --enable-libbluray --enable-libbs2b --enable-libcaca --enable-libcdio --enable-libflite --enable-libfontconfig --enable-libfreetype --enable-libfribidi --enable-libgme --enable-libgsm --enable-libmp3lame --enable-libmysofa --enable-libopenjpeg --enable-libopenmpt --enable-libopus --enable-libpulse --enable-librubberband --enable-librsvg --enable-libshine --enable-libsnappy --enable-libsoxr --enable-libspeex --enable-libssh --enable-libtheora --enable-libtwolame --enable-libvorbis --enable-libvpx --enable-libwavpack --enable-libwebp --enable-libx265 --enable-libxml2 --enable-libxvid --enable-libzmq --enable-libzvbi --enable-omx --enable-openal --enable-opengl --enable-sdl2 --enable-libdc1394 --enable-libdrm --enable-libiec61883 --enable-chromaprint --enable-frei0r --enable-libopencv --enable-libx264 --enable-shared --enable-version3 --disable-doc --disable-programs --enable-libopencore_amrnb --enable-libopencore_amrwb --enable-libtesseract --enable-libvo_amrwbenc
  libavutil      55. 78.100 / 55. 78.100
  libavcodec     57.107.100 / 57.107.100
  libavformat    57. 83.100 / 57. 83.100
  libavdevice    57. 10.100 / 57. 10.100
  libavfilter     6.107.100 /  6.107.100
  libavresample   3.  7.  0 /  3.  7.  0
  libswscale      4.  8.100 /  4.  8.100
  libswresample   2.  9.100 /  2.  9.100
  libpostproc    54.  7.100 / 54.  7.100
Input #0, mov,mp4,m4a,3gp,3g2,mj2, from 'GOPR0019.MP4':
  Metadata:
    major_brand     : mp41
    minor_version   : 538120216
    compatible_brands: mp41
    creation_time   : 2020-06-12T19:41:21.000000Z
    location        : +38.0455+023.7321/
    location-eng    : +38.0455+023.7321/
    firmware        : HD5.02.02.60.00
  Duration: 00:00:05.25, start: 0.000000, bitrate: 60245 kb/s
    Stream #0:0(eng): Video: h264 (High) (avc1 / 0x31637661), yuvj420p(pc, bt709), 2704x1520 [SAR 1:1 DAR 169:95], 60140 kb/s, 50 fps, 50 tbr, 90k tbn, 100 tbc (default)
    Metadata:
      creation_time   : 2020-06-12T19:41:21.000000Z
      handler_name    :     GoPro AVC
      encoder         : GoPro AVC encoder
      timecode        : 19:41:21:46
    Stream #0:1(eng): Audio: aac (LC) (mp4a / 0x6134706D), 48000 Hz, stereo, fltp, 128 kb/s (default)
    Metadata:
      creation_time   : 2020-06-12T19:41:21.000000Z
      handler_name    :     GoPro AAC
      timecode        : 19:41:21:46
    Stream #0:2(eng): Data: none (tmcd / 0x64636D74), 0 kb/s (default)
    Metadata:
      creation_time   : 2020-06-12T19:41:21.000000Z
      handler_name    :     GoPro TCD
      timecode        : 19:41:21:46
    Stream #0:3(eng): Data: none (gpmd / 0x646D7067), 38 kb/s (default)
    Metadata:
      creation_time   : 2020-06-12T19:41:21.000000Z
      handler_name    :     GoPro MET
    Stream #0:4(eng): Data: none (fdsc / 0x63736466), 13 kb/s (default)
    Metadata:
      creation_time   : 2020-06-12T19:41:21.000000Z
      handler_name    :     GoPro SOS
Input #1, mov,mp4,m4a,3gp,3g2,mj2, from 'GOPR0019.MP4':
  Metadata:
    major_brand     : mp41
    minor_version   : 538120216
    compatible_brands: mp41
    creation_time   : 2020-06-12T19:41:21.000000Z
    location        : +38.0455+023.7321/
    location-eng    : +38.0455+023.7321/
    firmware        : HD5.02.02.60.00
  Duration: 00:00:05.25, start: 0.000000, bitrate: 60245 kb/s
    Stream #1:0(eng): Video: h264 (High) (avc1 / 0x31637661), yuvj420p(pc, bt709), 2704x1520 [SAR 1:1 DAR 169:95], 60140 kb/s, 50 fps, 50 tbr, 90k tbn, 100 tbc (default)
    Metadata:
      creation_time   : 2020-06-12T19:41:21.000000Z
      handler_name    :     GoPro AVC
      encoder         : GoPro AVC encoder
      timecode        : 19:41:21:46
    Stream #1:1(eng): Audio: aac (LC) (mp4a / 0x6134706D), 48000 Hz, stereo, fltp, 128 kb/s (default)
    Metadata:
      creation_time   : 2020-06-12T19:41:21.000000Z
      handler_name    :     GoPro AAC
      timecode        : 19:41:21:46
    Stream #1:2(eng): Data: none (tmcd / 0x64636D74), 0 kb/s (default)
    Metadata:
      creation_time   : 2020-06-12T19:41:21.000000Z
      handler_name    :     GoPro TCD
      timecode        : 19:41:21:46
    Stream #1:3(eng): Data: none (gpmd / 0x646D7067), 38 kb/s (default)
    Metadata:
      creation_time   : 2020-06-12T19:41:21.000000Z
      handler_name    :     GoPro MET
    Stream #1:4(eng): Data: none (fdsc / 0x63736466), 13 kb/s (default)
    Metadata:
      creation_time   : 2020-06-12T19:41:21.000000Z
      handler_name    :     GoPro SOS
Input #2, mov,mp4,m4a,3gp,3g2,mj2, from 'GOPR0019.MP4':
  Metadata:
    major_brand     : mp41
    minor_version   : 538120216
    compatible_brands: mp41
    creation_time   : 2020-06-12T19:41:21.000000Z
    location        : +38.0455+023.7321/
    location-eng    : +38.0455+023.7321/
    firmware        : HD5.02.02.60.00
  Duration: 00:00:05.25, start: 0.000000, bitrate: 60245 kb/s
    Stream #2:0(eng): Video: h264 (High) (avc1 / 0x31637661), yuvj420p(pc, bt709), 2704x1520 [SAR 1:1 DAR 169:95], 60140 kb/s, 50 fps, 50 tbr, 90k tbn, 100 tbc (default)
    Metadata:
      creation_time   : 2020-06-12T19:41:21.000000Z
      handler_name    :     GoPro AVC
      encoder         : GoPro AVC encoder
      timecode        : 19:41:21:46
    Stream #2:1(eng): Audio: aac (LC) (mp4a / 0x6134706D), 48000 Hz, stereo, fltp, 128 kb/s (default)
    Metadata:
      creation_time   : 2020-06-12T19:41:21.000000Z
      handler_name    :     GoPro AAC
      timecode        : 19:41:21:46
    Stream #2:2(eng): Data: none (tmcd / 0x64636D74), 0 kb/s (default)
    Metadata:
      creation_time   : 2020-06-12T19:41:21.000000Z
      handler_name    :     GoPro TCD
      timecode        : 19:41:21:46
    Stream #2:3(eng): Data: none (gpmd / 0x646D7067), 38 kb/s (default)
    Metadata:
      creation_time   : 2020-06-12T19:41:21.000000Z
      handler_name    :     GoPro MET
    Stream #2:4(eng): Data: none (fdsc / 0x63736466), 13 kb/s (default)
    Metadata:
      creation_time   : 2020-06-12T19:41:21.000000Z
      handler_name    :     GoPro SOS
File 'video_out_01.avi' already exists. Overwrite ? [y/N] y
Stream mapping:
  Stream #0:0 (h264) -> scale
  Stream #0:0 (h264) -> scale
  Stream #0:0 (h264) -> scale
  concat -> Stream #0:0 (libx264)
Press [q] to stop, [?] for help
[swscaler @ 0x564504a951a0] deprecated pixel format used, make sure you did set range correctly
[swscaler @ 0x564504ae75a0] deprecated pixel format used, make sure you did set range correctly
[swscaler @ 0x564504b3b0c0] deprecated pixel format used, make sure you did set range correctly
[libx264 @ 0x564504212580] using SAR=1521/1520
[libx264 @ 0x564504212580] using cpu capabilities: MMX2 SSE2Fast SSSE3 SSE4.2 AVX FMA3 BMI2 AVX2
[libx264 @ 0x564504212580] profile High, level 4.2
Output #0, avi, to 'video_out_01.avi':
  Metadata:
    major_brand     : mp41
    minor_version   : 538120216
    compatible_brands: mp41
    firmware        : HD5.02.02.60.00
    location        : +38.0455+023.7321/
    location-eng    : +38.0455+023.7321/
    ISFT            : Lavf57.83.100
    Stream #0:0: Video: h264 (libx264) (H264 / 0x34363248), yuvj420p(pc), 1920x1080 [SAR 1521:1520 DAR 169:95], q=-1--1, 20000 kb/s, 50 fps, 50 tbn, 50 tbc (default)
    Metadata:
      encoder         : Lavc57.107.100 libx264
    Side data:
      cpb: bitrate max/min/avg: 0/0/20000000 buffer size: 0 vbv_delay: -1
Past duration 0.999992 too large
    Last message repeated 2 times
Past duration 0.999992 too large      6kB time=00:00:00.00 bitrate=N/A dup=0 drop=6 speed=   0x
    Last message repeated 9 times
Past duration 0.999992 too large      6kB time=00:00:00.00 bitrate=N/A dup=0 drop=26 speed=   0x
    Last message repeated 9 times
Past duration 0.999992 too large      6kB time=00:00:00.00 bitrate=N/A dup=0 drop=47 speed=   0x
    Last message repeated 9 times
Past duration 0.999992 too large      6kB time=00:00:00.00 bitrate=N/A dup=0 drop=67 speed=   0x
    Last message repeated 9 times
Past duration 0.999992 too large      6kB time=00:00:00.00 bitrate=N/A dup=0 drop=87 speed=   0x
Past duration 0.999992 too large      6kB time=00:00:00.00 bitrate=N/A dup=0 drop=89 speed=   0x
    Last message repeated 6 times
Past duration 0.999992 too large     518kB time=00:00:00.02 bitrate=212016.8kbits/s dup=0 drop=103 speed=0.00562x
    Last message repeated 2 times
Past duration 0.999992 too large    1030kB time=00:00:00.08 bitrate=105433.0kbits/s dup=0 drop=109 speed=0.0194x
    Last message repeated 5 times
Past duration 0.999992 too large    2054kB time=00:00:00.20 bitrate=84116.2kbits/s dup=0 drop=121 speed=0.0422x
    Last message repeated 4 times
Past duration 0.999992 too large    2822kB time=00:00:00.30 bitrate=77049.0kbits/s dup=0 drop=131 speed=0.0572x
    Last message repeated 2 times
Past duration 0.999992 too large    3334kB time=00:00:00.36 bitrate=75858.4kbits/s dup=0 drop=139 speed=0.0626x
    Last message repeated 4 times
Past duration 0.999992 too large    4102kB time=00:00:00.46 bitrate=73044.5kbits/s dup=0 drop=148 speed=0.0723x
    Last message repeated 5 times
Past duration 0.999992 too large    5126kB time=00:00:00.58 bitrate=72395.0kbits/s dup=0 drop=160 speed=0.083x
    Last message repeated 4 times
Past duration 0.999992 too large    5894kB time=00:00:00.68 bitrate=71000.8kbits/s dup=0 drop=170 speed=0.0905x
[Parsed_concat_15 @ 0x564504a8b820] Buffer queue overflow, dropping.
    Last message repeated 5 times

ver 3.4 bugs had bugs with filtergraph fifo control. Upgrade to 4.2.

I am doing that right now. I hope will do the job!

@Gyan ffmpeg 4.2.3 did the job like a charm!!!! Thank you!


text:
Why concat in ffmpeg 4.2.3 says too many arguments?
I am trying to flip 180 degrees parts of a video file from action camera.
When i was using
"[clpABCD][clpEF][clpG]concat[out1]" -" instead of "[clpABCD][clpEFG]concat[out1]" -"

ffmpeg said Too many inputs specified for the "concat" filter !!!! Why?
ffmpeg -i video_output_02.avi -filter_complex \
  "[0:v]trim=start=0:duration=516[clpA];\
   [0:v]trim=start=516:duration=1,setpts=PTS-STARTPTS[clpB];\
   [clpB]vflip, hflip[clpBf];\
   [clpA][clpBf]concat[clpAB];\
   [0:v]trim=start=517:duration=1204,setpts=PTS-STARTPTS[clpC];\
   [0:v]trim=start=1721:duration=155,setpts=PTS-STARTPTS[clpD];\
   [clpD]vflip, hflip[clpDf];\
   [clpC][clpDf]concat[clpCD];\
   [clpAB][clpCD]concat[clpABCD];\
   [0:v]trim=start=1876:duration=581,setpts=PTS-STARTPTS[clpE];\
   [0:v]trim=start=2457:duration=24,setpts=PTS-STARTPTS[clpF];\
   [clpF]vflip, hflip[clpFf];\
   [clpE][clpFf]concat[clpEF];\
   [0:v]trim=start=2481:duration=253,setpts=PTS-STARTPTS[clpG];\
   [clpABCD][clpEF][clpG]concat[out1]" -map [out1]  -crf 14  -vcodec libx264  -vb 20M  Hflip_2.mp4
ffmpeg version 4.2.3 Copyright (c) 2000-2020 the FFmpeg developers
  built with gcc 7 (Ubuntu 7.5.0-3ubuntu1~18.04)
  configuration: --enable-gpl --enable-libx264 --enable-libvpx --enable-libmp3lame --enable-libopus
  libavutil      56. 31.100 / 56. 31.100
  libavcodec     58. 54.100 / 58. 54.100
  libavformat    58. 29.100 / 58. 29.100
  libavdevice    58.  8.100 / 58.  8.100
  libavfilter     7. 57.100 /  7. 57.100
  libswscale      5.  5.100 /  5.  5.100
  libswresample   3.  5.100 /  3.  5.100
  libpostproc    55.  5.100 / 55.  5.100
Input #0, avi, from 'video_output_02.avi':
  Metadata:
    encoder         : Lavf58.29.100
  Duration: 00:45:34.41, start: 0.000000, bitrate: 22653 kb/s
    Stream #0:0: Video: h264 (High) (H264 / 0x34363248), yuvj420p(pc, progressive), 1280x720 [SAR 1521:1520 DAR 169:95], 22649 kb/s, 32 fps, 32 tbr, 32 tbn, 64 tbc
[AVFilterGraph @ 0x564f261d9340] Too many inputs specified for the "concat" filter.

ffmpeg -i video_output_02.avi -filter_complex \
 "[0:v]trim=start=0:duration=516[clpA];\
  [0:v]trim=start=516:duration=1,setpts=PTS-STARTPTS[clpB];\
  [clpB]vflip, hflip[clpBf];\
  [clpA][clpBf]concat[clpAB];\
  [0:v]trim=start=517:duration=1204,setpts=PTS-STARTPTS[clpC];\
  [0:v]trim=start=1721:duration=155,setpts=PTS-STARTPTS[clpD];\
  [clpD]vflip, hflip[clpDf];\
  [clpC][clpDf]concat[clpCD];\
  [clpAB][clpCD]concat[clpABCD];\
  [0:v]trim=start=1876:duration=581,setpts=PTS-STARTPTS[clpE];\
  [0:v]trim=start=2457:duration=24,setpts=PTS-STARTPTS[clpF];\
  [clpF]vflip, hflip[clpFf];\
  [clpE][clpFf]concat[clpEF];\
  [0:v]trim=start=2481:duration=253,setpts=PTS-STARTPTS[clpG];\
  [clpEF][clpG]concat[clpEFG];\
  [clpABCD][clpEFG]concat[out1]" -map [out1]  -crf 14  -vcodec libx264  -vb 20M  Hflip_2.mp4

The command that "is working"
ffmpeg -i video_output_02.avi -filter_complex \
 "[0:v]trim=start=0:duration=516[clpA];\
  [0:v]trim=start=516:duration=1,setpts=PTS-STARTPTS[clpB];\
  [clpB]vflip, hflip[clpBf];\
  [clpA][clpBf]concat[clpAB];\
  [0:v]trim=start=517:duration=1204,setpts=PTS-STARTPTS[clpC];\
  [0:v]trim=start=1721:duration=155,setpts=PTS-STARTPTS[clpD];\
  [clpD]vflip, hflip[clpDf];\
  [clpC][clpDf]concat[clpCD];\
  [clpAB][clpCD]concat[clpABCD];\
  [0:v]trim=start=1876:duration=581,setpts=PTS-STARTPTS[clpE];\
  [0:v]trim=start=2457:duration=24,setpts=PTS-STARTPTS[clpF];\
  [clpF]vflip, hflip[clpFf];\
  [clpE][clpFf]concat[clpEF];\
  [0:v]trim=start=2481:duration=253,setpts=PTS-STARTPTS[clpG];\
  [clpEF][clpG]concat[clpEFG];\
  [clpABCD][clpEFG]concat[out1]" -map [out1]  -crf 14  -vcodec libx264  -vb 20M  Hflip_2.mp4

The concat filter has an option to set no. of inputs. Its default value is 2.
Change to [clpABCD][clpEF][clpG]concat=n=3[out1].


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Normalizing audio output loudness (LKFS/LUFS) in DaVinci Resolve 16
DaVinci Resolve 16 adds a great feature that allows applying "Normalize audio levels" on a clip using the ITU BS.1770 or EBU R128 standards, to a target level of -23 LKFS/LUFS, or similar.
However, this normalization only seems to apply to the raw audio of the clip, before any filters (such as compression) are applied to it.
Is there a way to normalize the final audio output loudness of a project (to a standard like -23 LUFS), after all filters and so on have been applied?

Maybe see "The Fairlight Audio Guide" on "Bouncing" a track.


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AE - Tracking in Comp different when played backwards?
I've come across a rather strange phenomenon in After-Effects.
Here's what I have:
I tracked some shaky footage and applied the tracked motion to a null. Then, a camera follows that null, thus stabilizing my footage. It all looks great and so I precomped everything. Now I want to play the comp as a boomerang - so first at 100% speed and then at -100% (playing backwards).
The strange thing is: When the comp is played forward, everything is smooth and ok. But when the same comp is played at -100% speed (backwards), the tracking is way off and jolts around.
I have checked for invisible layers, cleared my cache, restarted the program, checked every layer in the comp, made sure that these really were the same comps, etc. etc.
If you know what is causing this strange behavior, any tips are appreciated. thanks :)


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Merging frames with ffmpeg
I have a 240fps video and I want to merge/average every 4 frames into 1, resulting in a 60fps video with a motion blur type effect. Any ideas how I can do this with ffmpeg?


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After Effects - Path with cut out
I am trying to animate a logo to create a loader.  As part of this animation I want to convert the logo symbol to a 3d object and spin it.
I have created a shape layer and pasted a path from illustrator.  To note - the path was created using the pathfinder minus front option to create a hollow centre - and looks like this:

When pasting as a path After Effects initially  inverts the path as such:

if i then click invert alongside mask :

it displays correctly.  But if I then change the shape layer to a 3d layer I loose the cut out -

can anyone please advise where i'm going wrong and what i can do to correct?
Thanks very much.

Any reason you're not importing the file from illustrator? Using the shape as a mask on a shape layer is a complicated way of doing things.

hi @stib I'm new to AE and was following a. tutorial - it mentioned that this method allowed depth extrusion


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What is the most basic standard raw video format?
What I mean by the question is, for audio we have the WAV file format which stores a representation of audio where each word stores the intensity of one sample of audio. In addition to this there is a standard header format which is agreed on universally to make it easier to process these files. Similarly for image files we have the BMP file format where each word stores the RGB value for each pixel inside the image, along with a universally accepted header file that helps process the file. For text files we have TXT file format which just stores the ascii equivalent of each character on file. Non of these are compressed formats and one word of predefined size in each file represents one unit of the media type the file represents.
Is there anything similar for video files? Almost any video format I can think of (.wmv, .mp4 etc) are either proprietary or compressed formats. Does a video equivalent of BMP or WAV exist? Does such a format take into account both audio and video?

This question is based on incorrect information, and may be impossible to give a sensible answer.  WAV isn't "universally" agreed on at all: https://sites.google.com/site/musicgapi/technical-documents/wav-file-format#formatvariations mentions implmentations that omit header padding, https://samplerateconverter.com/educational/wav-64-bit-rf64-mbwf documents the RF64 variant, https://sound.stackexchange.com/questions/36994/differences-in-wav-files shows a user having trouble with implementations that aren't compatible.  Codec support varies, but MP3 compression is common, like MP4 containers.

@wrosecrans may be wav is not universally acknowledged as you say, but that's not the important point here. Mentioning wav here I think makes it more clear what I am looking for; a video format that corresponds to something like wav for audio, or if something like that exists at all

The point is that you misunderstand what WAV is, so your quest to find a video format like what you think WAV is makes no sense. "video WAV" is MP4, but you insist that MP4 isn't what you want, because it doesn't exclusively hold uncompressed samples.  But neither does WAV. ffmpeg will let you dump to a "rawvideo" file if you care to :  https://stackoverflow.com/questions/20609760/convert-h264-video-to-raw-yuv-format Obviously, you can just put samples in a file and then write a README telling people how to use it.  It's just a lot more convenient to use a standard container like MP4/MOV/etc.

The reason there is no widely used uncompressed video format, as there is for audio is that the data rate for uncompressed video is so colossal that uncompressed video is kinda useless. While a relatively cheap device has been able to deal with a stream of PCM audio since the eighties, even today you need fast storage and a decent system to play a stream of uncompressed video. I'll illustrate by giving an example of the size of an uncompressed stream of video.
First it might be worth noting the difference between RAW and uncompressed codecs, and uncompressed and losslessly compressed codecs. Matt provided a good description of RAW codecs, but they are not prevalent in video, other than as camera codecs that get transcoded before use. But there are also uncompressed and lossless codecs that store the raster in a mathematically lossless way, so that each pixel in the decoded video will have the same colour information as the encoded video.
The difference between uncompressed and lossless is that uncompressed just store the colour channels as a stream of bytes, similar to a PCM stream in audio. At say, 10 bits per colour channel, each pixel will take 30 bits. Given that a single frame of 1080p video has around 2.1 million pixels, each frame is going to require a about 7.8mB, and at 24 fps thats ~187mB per second, or 671gB per hour. Even though storage is cheap, that's still going to pose a problem; just playing it back will be taxing. An example of an uncompressed codec is V210, developed by Apple, back when dinosaurs ruled the earth. It's a bit like wav, except that almost nobody uses it.
A solution to the storage and transport problem is to compress the data mathematically — as you would compress other files that you need to restore perfectly. An old lossless codec, Apple's Animation codec uses RLE encoding, which given the highly redundant nature of video streams gives fairly significant size reduction, at the overhead of more processing.
Other lossless encoding use more efficient algorithms, and the more efficient they are the more processing they generally require. So lossless codecs will allow you to retrieve the pixel data as it was originally, with no generation loss, but do not store the pixels as a simple stream of bytes. An example of an open source, mathematically lossless compressed codec is FFV1, developed by the makers of the ffmpeg software.
Something else worth noting is that many video streams are not full resolution. Almost all of the video you see on the web is encoded as YUV-420. This is what is know as chroma subsampling. YUV refers to the way colours are encoded: rather than use the RGB values of the pixels it stores the colour as luma (≈brightness), and two difference components called U and V (≈red - brightness and ≈ blue - brightness, the green component is ≈ the difference between the Y and the sum of the UV channels. There are perceptual weightings given to each component, hence the ≈s but the idea is the same).
Almost all video codecs use YUV encoding, and many sample the colour components at a lower resolution than the luma component. In the case of 420, or 4:2:0 as it is commonly written, for every 4 pixels of luma information there will be 2 pixels of colour information. Some codecs only allow one sort of subsampling (e.g. Apple's Prores 422, which is, not surprisingly 4:2:2 or DVCPro which was weirdly 4:1:1), others let you encode in a variety of subsampling pattern (h.264 has variants that let you encode 4:2:0, 4:2:2 or 4:4:4).
If you wanted a codec that was similar in ubiquity to wav, then probably Apple's  ProRes might fit the bill. While not lossless, it manages a good tradeoff between file size and quality, and was one of the first lossy codecs to allow 10-bit sampling. Avid also make a similar codec called DNxHR, and there is an originally proprietary, but now open source codec called Cineform that fills a similar niche — these codecs are often called intermediate codecs, they're good for moving video from one stage of the post-production chain with minimal generation loss.
However the most commonly used video codec by far today is MPEGLA's h.264. This is a delivery codec, as it is suitable for the final delivery of content, especially via the web, and usually lossy, though it can be used to encode losslessly. The main reason that this is so common is that it does an excellent job of maintaining perceived quality at far, far lower data rates than uncompressed video.

Thank you very much for adding all that information.

This topic is really complex and you have confused some things.
WAV and mp4 are container formats, they can contain compressed or uncompressed data, while WMV is a series of codecs and formats. TXT is not a something like a RAW format - far from it. A txt file is stored as binary data. So if I programmatically open a Streamreader I will get a byte array and can interpret this as text but I have to apply the correct character encoding (like ASCII or UTF8). When you see text it has already been processed. It cannot be considered RAW by definition.
RAW data can contain lossless compressed or uncompressed data but not all uncompressed formats contain RAW data. (I simplify here, because there is also mathametically and visually lossless compression).
What is RAW?
I consider a file to be raw if it contains all necessary unchanged, original data to represent some entity. In order to store it, a format needs to be defined. This format sometimes contains additional data. Example: Canon's CR2 RAW format also stores a JPG preview inside. The RAW file can store its information in a compressed way, however this is always at least visually lossless, the only exception being additionaly data like a preview JPG which is stored lossy.
How to use RAW (super simplified)
The RAW format is never intended for consuming. It is a format to work on the data.
You develop or interpret a RAW. That's the step when you apply some logic to generate a viewable output. E.g. you see text. Or your screen shows an image or video. The high amount of information that a RAW provides, enables enough headroom for you to work much better. When done, you export it in another, consumable file format. This is when you generate for example a JPG from a photo RAW or a WMV from a video RAW.
With video you use codecs at this steps, specifically interframe codecs or distribution codecs, because all work is done now. Afterwards or at the same time, you often put them in widely recognised containers that help to bundle video and multiple audio tracks, like mp4 or mkv.
RAW Video
Both in photography and videography you use a camera and it needs to read out its sensor in order to record something. The sensor is of course manufacturer-specific. It's only natural, that every camera works a bit different, has different needs and offers different features. Think of how the Bayer filter needs to be interpreted. Consequently manufacturers have their own RAW format. Last but not least, the camera manufacturers would lose their IP if they shared all those secrets. All those reasons stand against a common RAW format.
Yet you can convert a RAW to a common, open format with some drawbacks. For photography that is DNG and for videos it's CinemaDNG. Sometimes this conversion is built into the camera.
Specifying a common format is hard work as you need to account for everyone's needs. Adobe tried to establish the DNG format as a generic format in the photography sector, but they didn't take every need into account. Many years later it still is only used by few manufacturers. DNG can also be regarded as a derrived format. But your first step is still to use a propriety RAW format, then convert it to DNG. Probably those cameras which output DNG still use their own RAW formats internally.
But Adobe's other open format initiative, called CinemaDNG, seems to be accepted more widely. It's a container that can store video as a series of images each encoded as DNG. However if you look at Blackmagic, not every manufacturer is happy with it. According to Blackmagic their own RAW format performs much better and they regard CinemaDNG as obsolete.
You will be able to get proprietary RAW formats from many modern cameras. Arri and Sony offer uncompressed RAW, while RED and Blackmagic give you compressed RAW.
An alternative during post-production is video encoded with an intraframe codec. Something like ProRes. It still delivers very high quality.
A note on audio
You record audio in an umcompressed format. Professionally you often record on a separate device and later sync that in post mostly automatically. That's why you need a clapperboard/timecode. There's also music, ADR, SFX that will be added later, not when shooting of course. That will all come together at some point of editing. Before video and audio will be exported for distribution, there is a mixdown/mastering performed with the audio (with the goal to reduce or mix down many tracks to simple stereo or surround sound).
In essence, video and audio is kept seperately at the beginning, kept in sync but still separated during editing and bundled together during final export for distribution. Each workflow might vary a bit. That and for technical reasons is why all video RAW only record video, I think. Only CinemaDNG can include audio.
To sum up
There is no standard video RAW format. The closest thing to that is CinemaDNG which is actually a bit different than a true RAW format, and it comes with some drawbacks.
Keep in mind that RAW video is a topic for producing films for cinema or streaming platforms. It's a bit over the top for Youtube videos, hobbyist projects and the like.

I think Cineform has an open source compressed RAW format, but I don't know anybody that uses it.

They do.  I could've sworn it was in Resolve, but I don't see it.  They may've taken it out when they added .braw.  The 10-bit YUV's still in there.  Anyway, source code and SDK for Cineform and all of its flavors are here: https://github.com/gopro/cineform-sdk

It is still in Resolve.  It's under the Quicktime wrapper.

An open source format is a first step. GoPro seems to use it. However if other camera manufacturers don't adopt it, it is yet another RAW format. It seems to be standardized by SMPTE at least. But I think the OP meant with "standard" a commonly accepted, widespread format, not that it is specifiied by a standardization organisation. Gopro registered Cineform as Trademark, this is unhelpful for establishing an open format.

@JasonConrad what does it mean if a format is raw but is also compressed? If it's compressed doesn't it already mean it's probably not raw?

It means it takes up a LOT less space without sacrificing much visual quality, and in most cases it happens in the camera, and the camera manufacturer tunes the algorithm to the I/O speed required between their sensor and media.  R3D uses a proprietary fork of JPEG2000 wavelet based encoding, for example.  Cineform is also wavelet based.  Blackmagic .braw is tuned to perform well in the edit room and gives excellent playback speed with low "seek" time.  Fun fact: wavelet encoding was first used by the FBI to digitize their massive paper catalogue of fingerprints.

Component video, which @stib talks about below is another really interesting way manufacturers selectively reduce data throughput by exploiting properties of human vision.  Specifically, human eyes are better at luminance contrast detection, than at color contrast detection, so YUV encoding sacrifices detail where people are less likely to detect quality loss.  On the video postproduction side, though, YUV encoding interferes with green screens and color correction, hence the professional affinity for RAW or compressed RAW.

Each manufacturer uses proprietary way to read data from the matrix and encode it to some popular format. As far  as I understand the question, (and I am also interested in the answer) was how to decode/convert  a movie, for example from mp4 format to the format where each frame would form a two dimensional matrix, with each element corresponding to particular pixel storing an information about the shade of grey in case of black and white movie, or three dimensional one where for each pixel three RGB values would be stored as an integer array frame(1024,640,3) for the resolution 1024x640. Of course the file containing the whole movie would be huge, and impractical for a typical storing/displaying of a movie, but this type of conversion always needs to be a first step for further mathematical processing of data for let say 2D Fourier transformation of each frame or something else making more sense.


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Adding beams of light effect using adjustment layer
I have filmed a green screen sequence where a figure acts like he walks through a doorway. The effect I want to achieve with the green screen is to make it look like the figure is walking into pure energy / light. Here is my workflow thus far:

I have placed the empty scene at the bottom of the timeline layers.
Above that I added the same scene (but this time with the figure).
Then I replaced the green background with a solid layer of white.

However, it looks a bit dull and I wanted to make the 'pure energy' look more convincing by adding a burst / beam of light effect. Similar to below:

Question
How do I achieve the effect where the beams of light appear to shine both behind and above the figure?

Have you tried the tutotial by andrew kramer?
https://www.youtube.com/watch?v=frXQxwMKh6c


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Making a video faster
I’m using Handbrake & have filmed throwing a pot.  I want to make the time it takes shorter.  Can I do this on Handbrake?

Depends on what exactly you mean. If you want to play back the footage at a higher framerate, then upping the framerate in the export settings should do the trick.

Thank you, Florian.  I want the video to take up less time for the viewer, so I guess each frame must show up in a shorter aunt of time.   I do't know where the 'export settings' are.  I'm a complete novice!

In that case, I would not recommend using handbrake. There's a free trial version of Premiere, which is widely known and used, and frankly - your task is easier to comprehend compared to handbrake. If you got your video in the timeline, simply right-click and select "speed and duration". When you changed your speed, you can export with ctrl+m and choose h264 mp4 with a bitrate of 4-5 for an average sized, average quality video.

Thank you so much, Florian.  I'll have a go.

Several approaches were discussed in the comments, but in case somebody is searching for an answer, I will explain more in depth here.
The simplest solutions are to drop some frames or to change the frame rate. Visually it can be looked at in the following way:

Here I assume a simple video with 4 frames per second (unrealistic, but it is only for us to get an idea of what is happening) and with only 6 frames. From this we can gather that this video will take 1.5 seconds to be shown to a viewer.
The first thing we can do is to change the frame rate (frames per second, fps). Here i am doubling it. Now there are still the same data in the file, all 6 frames are available, but they will be displayed at the rate 8 per second, and thus the viewer will only see 6/8 of a second worth of video. You should note here that the computer will have to make the same work, but do it faster. Sometimes it means that if the frames are to be displayed faster than they can be read from disk and decoded, the video will start freezing up, random parts will be dropped, other weird things will start happening.
The second thing that we can do is to keep the frame rate the same (4 frames per second), but drop every 3rd frame. The effect here will be that the total video will be 1 second long, and the computer will not have to do any more work than usual. However, the data is actually gone from the video now, if we step through the video frame by frame, some frames are completely gone. If you are throwing a pot, I doubt that you will be able to have it fly by in a single frame, but if you are working one a film with a gun shot or something similar, you could potentially lose the frame where something appears on the screen.
And finally, of course, you can do both. This is useful if you are trying to speed things up a lot, but you don't want something like 500fps video, which a computer will simply not be able to handle if the resolution is anything we would consider reasonable.


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phone portrait format to landscape format
What do I do if I have a video made by a smartphone while holding it upright, resulting in a portrait format, and I want it to be a landscape format like another video I want to combine, editing in Kdenlive 19.12.2?
Thanks in advance, Frank

When exporting, try to change the resolution to 1920x1080 instead of 1080x1920, effectively cropping in. If you have the option, try to crop the image, which will discard the parts of the video to the left and the right, to pick out the landscape part in the middle. If you want black bars around the horizontal video, you should be able to set the option of zooming or scaling, instead of cropping.

Thanks @FlorianClaaßen how do I change the resolution from 1920x1080 to 1080x1920 in Kdenlive? I couldn't find it on internet.

I am sorry but that I don't know neither.. there should be documentation on the program though, right? If not, I'd recommend switching to a more well-known and well-documented program such as Premiere, Vegas, etc...


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Premiere: Creating title text from clip's creation date
So I have lots of short clips of footage documenting a specific event and the time thereafter. I want to automatically generate a title text that displays a text like XX seconds, XX hours since where the seconds update as well. Ideally the metadata already available on the source would be considered to compute the time difference.
I've did some digging on Google and it seems like I would need to utilise the Scripting API, but I'm missing some pointers to get started (and copy together relevant code parts).
Any ideas? Would I be better off trying to do this in After Effects?


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What SOFTWARE could I use to encode to this spec?
Thanks in advance!
It's an mpeg transport stream in a .ts wrapper. Layout would be as follows:
Video (MPEG2, 80Mbps, CBR, All I Frame,422@HL)
Audio1 (Track1/PID1) 1 pair LPCM(SMPTE 302M)48kHz
Audio2 (Track2/PID2) 1 pair LPCM(SMPTE 302M)48kHz
Audio3 (Track3/PID3) 1 pair LPCM(SMPTE 302M)48kHz
Audio4 (Track4/PID4) 1 pair LPCM(SMPTE 302M)48kHz
FFmpeg is out because it won't encode LPCM into .ts. I'd rather not go down the AVISynth wormhole because I'm Mac based but if there is a CLEAR solution (as opposed to random AVISynth fiddling) by trying that route, I'd definitely be willing to give it a go. I tried AME/Adobe.I tried Telestream. I tried Resolve.  I haven't tried Compressor this go around but I know it's there to try if I don't hear anything else.
I've done this a bunch with hardware encoders but I'm on my own now and a dedicated HW encoder is not in the budget for this project. I look forward to and appreciate your input!

What exactly did you try in each of those programs? Please share the full ffmpeg command and output. Which Telestream product? Did you try contacting their technical support?

I appreciate your response! In the interim I corresponded with one of (I think) the developers of ffmpeg and they were able to clarify some information regarding the software’s ability to encode 302M audio into .ts from non-.ts sources.  It also APPEARS that I can do this in AWS/elemental so I’m going to  do some testing with that.  I’ll report back if I have any noteworthy results.  Cheers!


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Premiere Pro export same file size as import
I just want to export a video at the exact same settings as the imported file.
'match source' and 'match sequence settings' do not work. (Adobe Premiere Pro)
On my timeline all I did was trimmed some footage off the beginning and end (so the file should now be smaller!), and the best I can get it is almost twice the size (megabytes) with a huge reduction in quality.
No one can answer this on other threads - It's always "reduce the bitrate" or something, but that makes the quality WORSE than the original file and still ADDS file size!

additional info: ive imported an mp4 file and am trying to export as mp4 (H.264)

A shot in the dark: is the bitrate setting showing CBR? If so, try VBR. If this doesn't help, please edit your question and add all the export settings (maybe screenshots). And what codec was the input? MP4 is only a container, there can be anything in there. Is the source also h264 like the codec you chose for export?


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Artifact in animation / horizontal lines & double images
I'm using Handbrake, with the H.264 Codec (RF:16). It works pretty well with live action, but it produces odd results whenever I try to back up/encode animations. I've attached a screenshot:

Anything that's static is fine. But for anything moving (like the money tsunami in the image), I get the double image and horizontal lines. When it's moving, the double image isn't as noticeable, but the horizontal lines really stick out badly. Can anyone tell me what's going on, and how to fix it? Are there any codecs made precisely for animations?
(It's really bad with old psychodelic-type animation. Think "Yellow Submarine" style animation, with lots of bright, flashing colors.)

This artifact is likely the result of interlacing. And to get rid of it, you can deinterlace it.


text:
Motion tracking in After Effects 2020 (as well as in 2019) becomes very slow after some time
When I perform motion tracking by 2 points in AE 2020 it starts with good acceptable speed (10-15 fps) and then after about 1000-2000 frames it sometimes become very slow, about 1 fps.
The video has 4K resolution, 60fps.
I have pretty good computer:
Core i5-7600k, 1080ti, 48Gb RAM, SSD
And also I see in task manager as well in HWmonitor that each CPU core is not loaded more than 50%, GPU is used by 0-3%, memory usage can be not more that 50% of memory assigned to Adobe products, disk usage can be 0. GPU memory usage about 30-50%. I have a separate 500Gb SSD for caches only and I assigned 350Gb for adobe cache in AE settings. The disk is almost empty, so there are about 400Gb free space when slowness is occured.
So why this slowness in motion tracking happens and how to avoid it?

I am not 100% certain, but this sounds like either a After-Effects bug (like so many other bugs) or it has something to do with your footage, as it might become harder to analyze after some time. Have you tried the same with another clip?

yes, I tried this with 5 clips and this bug appears on each of them

I see, this is odd. Have you tried using the Mocha tracker? It comes free with after-effects since it got introduced to it a few versions back.


text:
Recording a lecture, mirroring Ipad to Windows PC
I would like to record a lecture for my maths students. I want to write it on my Ipad (in goodnotes), mirror Ipad on my PC laptop, and use OBS on my PC to combine the image of the Ipad with the input of my video camera (+ my voice).
I wonder, what are the best ways to mirror Ipad to my PC?
I am aware of three methods. 1) Make a zoom call to myself. 2) Use LonelyScreen 3) Use Apowersoft. Are there better ways (preferably free)?


text:
Trying to stabilize a video with FFMPEG so that it looks like it was taken with a tripod
I have tried to stabilize this video this video using ffmpeg. I have tried deshake and vidstabdetect/bidstabtransform.  I would like the outcome to look like it was taken from a tripod
I have tried it with these settings:
ffmpeg -t 5 -i GOPR7182.MP4 -vf vidstabdetect=stepsize=32:shakiness=10:accuracy=10:result=transform_vectors.trf -f null -

And settings like this:
ffmpeg -i input -vf vidstabtransform=tripod=1:interpol=bicubic:input=input.trf,unsharp=5:5:0.8:3:3:0.4 -c:v libx264 -tune film -preset veryslow -crf 12 -x264opts no-fast-pskip -c:a copy input-stab.mkv

And lots of variation on shakiness/accuracy/stepsize.  The results are all similar where the motion is reduced but it still shakes.  Does anybody know of settings that would help me get the tripod like results or is this to much to ask given the motion in the video?
Thanks,
Josh

What motion?!?  I'm sorry.  I've answered this question so many times, I was expecting to see a handheld shot of an earthquake on horseback, and give my usual spiel about parallax and motion blur.  (here, eg https://video.stackexchange.com/questions/29671/is-video-stabilization-during-recording-better-than-stabilizing-a-shot-in-post-p)

Or here https://video.stackexchange.com/questions/12840/using-smartphone-sensors-to-stabilise-dslr-video-in-post/12844#12844


text:
Ways to force-stop or limit extent of After Effects tracking when you can't escape from it?
I've been using tracking in After Effects a lot lately; tracking masks, tracking objects or the camera etc., and whenever I click that play ▶ button, there doesn't seem to be anything I can do to stop it, no matter what kind of tracking I implement.
The program completely ignores all of my clicks and I have no choice but to wait until it reaches the very end of a clip, which can be a VERY long time after the segment I care to track. I've had to leave AE for hours multiple times, to let it work on something even after I can clearly see that the mask is off and all the tracking has become useless.
All I can think to do now is to save right before I start ANY tracking, and force AE to quit if it gets caught in this loop, so I at least don't lose my work before clicking to track but that loses any time put in that DID get a useful track.
The tracker seems to ignore my active work-area selection that indicates what I actually intend to render.
Given my situation, what can you recommend I do to avoid losing AE to get locked in endless tracking?
I was thinking of:

Using Shift-Control/Command-D to split the clip at a point where I don't need tracking any more, or where I know it will stop so I can at least have a chance to confirm the tracking is going well. But, I don't know how I'd re-merge them and this could make things messy. At the moment, this is the best I can think of, and to just have way too many "Pre-composed" layers of split clips to get around the problem.
I could manually force the clip to just be shorter, but this messes up the workflow for later when I just need to extend it again and I'm worried about losing effects on later points in the clip.
I can just click to track forward one frame and click again, then it won't get caught in its own automatic ad-nauseum tracking, but this is tedius.

Any other suggestions? My system is strong and can handle a lot that I throw at it, which is why I'm so confused as to why this happens so consistently. I'm on Windows 10, i7-5930K CPU, 32GB RAM, and the latest version of AE 2020.


text:
After Effects - Green Screen - Non keyed, overlapping areas make final result look bad
I'm working on a fitness video that was filmed in front of a full body green screen.
Most of the subject's body is in front of the green but some of her body overlaps the gym mat.
When I key out the screen and shrink the edges, only the area in front of the screen is being affected (as you would expect).
The only problem is, the area of the legs in front of the screen become slightly narrower than the area of the legs in front of the gym mat - quite noticeable in the final result.
Is there a trick to help prevent this?
Here is a (zoomed in) image of what I'm dealing with. The arrows indicate narrower vs. wider areas of the legs:

I'm following this YouTube tutorial:

Try using the advanced spill suppressor preset technique instead. I’ve found it to work better but take longer to render:

That's a tricky one. Here's one dirty solution I want to propose:
Apply a second keyer for the red hue of the gym-mat. Now shrink your alpha just like you did with the greenscreen. Then, you could stitch together a patch for the mat (effectively a clean-plate of the mat without the legs). Next, track your footage, put the gym-mat-patch behind her legs and apply the tracked motion to the patch. This should give you equal matte-chokes across the legs.

Another thought- the problematic area is very dark. Maybe you could use Extract to make a second key, a bit like a luma key, keeping the black leggings and removing everything else, then overlaying a masked section just where the problem occurs?


text:
What is video hinting?
I've just faced with such thing as hinting videos. Quick research showed me something about the fact that it makes "streaming better" and something about QuickTime Streaming Server. That wasn't really clear or accurate in any way. So, I have a bunch of questions.
What exactly video hinting does? What do hinting tacks contain? And how they make streaming better?


text:
What's the best free video editor for a music slideshow?
I am looking for a FOSS video editor to make a slideshow with. I want soemhting that's easy to use with the ability to have standard timed transitions across all clips. What's the best option?

This question is similar to questions that have been asked before. If you search this website for 'free editor', you'll get some instant answers, without having to wait for replies.

Does this answer your question? Free video editing software

In my opinion, it is the best idea and the fastest Adobe Premier Pro software
Its great user interface can be the best idea for you
Da Vinci Rizalo and Final Cut software are also great
Good luck

Thanks for the effort, but unfortunately this doesn't answer the question.  The OP is asking for a free and open source solution.  Premiere Pro and Final Cut are neither free, nor open source, and while Resolve is free, it is not open source.


text:
ffmpeg 4.2.3 bug. Pressing "y" do not overwrite the file
ffmpeg 4.2.3 bug: Do not overwrite the file even "y" is pressed
ffmpeg -f concat -safe 0 -i VIDEOFILES_short.txt -filter_complex  \
>  "[0:v] setpts=PTS-STARTPTS[v1];  \
>   [0:v] setpts=PTS-STARTPTS[v2];  \
>   [v1][v2]concat[v12];            \
>   [0:v] setpts=PTS-STARTPTS[v3];  \
>   [0:v] setpts=PTS-STARTPTS[v4];  \
>   [v3][v4]concat[v34];            \
>   [0:v] setpts=PTS-STARTPTS[v5];  \
>   [v5]vflip, hflip[v5flip];       \
>   [v12][v34][v5flip]concat=n=3:v=1, scale=1920:1080[out]" -map "[out]" -r 32 -crf 14  -vcodec libx264  -vb 20M   video_out_FF.avi
ffmpeg version 4.2.3 Copyright (c) 2000-2020 the FFmpeg developers
  built with gcc 7 (Ubuntu 7.5.0-3ubuntu1~18.04)
  configuration: --enable-gpl --enable-libx264 --enable-libvpx --enable-libmp3lame --enable-libopus
  libavutil      56. 31.100 / 56. 31.100
  libavcodec     58. 54.100 / 58. 54.100
  libavformat    58. 29.100 / 58. 29.100
  libavdevice    58.  8.100 / 58.  8.100
  libavfilter     7. 57.100 /  7. 57.100
  libswscale      5.  5.100 /  5.  5.100
  libswresample   3.  5.100 /  3.  5.100
  libpostproc    55.  5.100 / 55.  5.100
[mov,mp4,m4a,3gp,3g2,mj2 @ 0x55f126a78400] Invalid mdhd time scale 0, defaulting to 1
[mov,mp4,m4a,3gp,3g2,mj2 @ 0x55f126a78400] Auto-inserting h264_mp4toannexb bitstream filter
[concat @ 0x55f126a6dbc0] Could not find codec parameters for stream 2 (Unknown: none): unknown codec
Consider increasing the value for the 'analyzeduration' and 'probesize' options
[concat @ 0x55f126a6dbc0] Could not find codec parameters for stream 4 (Unknown: none): unknown codec
Consider increasing the value for the 'analyzeduration' and 'probesize' options
Input #0, concat, from 'VIDEOFILES_short.txt':
  Duration: N/A, start: 0.000000, bitrate: 60138 kb/s
    Stream #0:0(eng): Video: h264 (High) (avc1 / 0x31637661), yuvj420p(pc, bt709), 2704x1520 [SAR 1:1 DAR 169:95], 60010 kb/s, 50 fps, 50 tbr, 90k tbn, 100 tbc
    Metadata:
      creation_time   : 2020-06-12T17:51:41.000000Z
      handler_name    :     GoPro AVC
      encoder         : GoPro AVC encoder
      timecode        : 17:51:42:25
    Stream #0:1(eng): Audio: aac (LC) (mp4a / 0x6134706D), 48000 Hz, stereo, fltp, 128 kb/s
    Metadata:
      creation_time   : 2020-06-12T17:51:41.000000Z
      handler_name    :     GoPro AAC
      timecode        : 17:51:42:25
    Stream #0:2: Unknown: none
    Stream #0:3(eng): Data: bin_data (gpmd / 0x646D7067), 0 kb/s
    Metadata:
      creation_time   : 2020-06-12T17:51:41.000000Z
      handler_name    :     GoPro MET
    Stream #0:4: Unknown: none
File 'video_out_FF.avi' already exists. Overwrite ? [y/N] y
Not overwriting - exiting

This is a question and answer website.  Did you have a question?  To report FFMPEG bugs, go here https://ffmpeg.org/bugreports.html

I’m voting to close this question because it is not a question.

I agree with you :)

Was this a bug? What were the permissions of the output file, current directory, and what was the content of the text file you have given to ffmpeg as input?


text:
Can you render videos on a server
I would like to create an app that combines videos and renders them on a server.
Is it possible to do this?

I've been editing videos for around 20 years now, and I just started looking into this over the last few weeks.  The barrier to editing video remotely has always been latency.  But with technologies like Stadia around the corner, we'll see companies make inroads to cloud-hosted video editing soon, too.  Check out Google colab.  You get access to free compute time, including GPU up to a certain limit, and you can process files directly from Google Drive.  I'm learning Python, and it's pretty accessible.  JavaScript is also big.

Yes, it is possible. Such a concept is often called "render farm".
On the server side you could use tools like ffmpeg that can concatenate videos. To call it you could build a dedicated render service which works like a job management agent (think of sth. like Jenkins). The goal is to decouple the render jobs from whatever service/API your app talks to.
Maybe you can even use Jenkins because it has a REST API that enables you to trigger builds. Instead of a classic build job, your job will combine videos. This approach might save you some time.
However that is just a recommendation, other architectures are possible.
On the client side, there is one possible problem to be aware: all the raw video material needs to be uploaded to the server and bandwidth or uplink speed could be a limiting factor at some point.
On the server side you have to watch out for possible DoS attack scenarios and upload of malicious content.


text:
Premiere Elements: alternating between parallel video tracks
say I would be filming same thing with multiple (3-4) cameras.
What's the easiest way to be able to make a final video alternating between them at arbitrary points?
I know I can split the clips and put them to one track, but if I decide it doesn't look good its a major PITA to rework. I'd just prefer to have them all on different tracks and just decide which one is playing at that point in time.
Sorry, I'm complete noob at premiere.


text:
Why do background generators restart in a glitchy way, and how can I avoid it?
I'm seeing this issue frequently: if I'm using one of the built-in moving background generators such as Flow or Glimmer, the generated output sometimes glitches on boundaries of other visual elements, e.g. when a text/title clip ends its fade-out in the row above. It's as though thresholds of other clips/elements force the generator to restart or glitch in some other way. Why would other elements affect the generator's output?
In the image shown below, the generator will glitch on the playhead's current frame, as soon as the fade has finished.

It might be a side effect of that FCPX has a top down approach. Elements and timelines on top can have effects of elements and timelines underneath.
Change the order and move the generator on to of everything, this should help the glitching.


text:
After Effects - Green Screen - Subject Was Filmed Using Different Lens Than Background Image
My subject was filmed in front of a green screen using a different lens than was used for the fake background image.
When she moves away from the camera, she looks like a giant against the background image.
Is there any trick in After Effects I can use to fake her distance from the camera so it looks more believable?
Cheers.

You can use CC_lens to change the appearance of your background so the focal length matches your plate more accurately.
If you have more time (and money) to spare, you can use software like PFtrack to follow the visual lines in both images to estimate the focal length. This would give you the opportunity to accurately distort the image so the focal-lengths match on a more accurate scale.


text:
clean HDMI output camera - on start
I am looking for a 4K camcorder or DSLR camera for live streaming (tangential question: is camcorder or DSLR better for that?).
To have live streaming, I need pure HDMI output.  Currently I do it with an old non-4K Canon camcorder and it works well, but if the camera restarts, I need to reconfigure it to have pure HDMI picture. I would like to hook it up in a wifi controlled outlet so that I can turn the camera on remotely and start streaming.  So I need the camera to boot into pure HDMI output w/o me having to mess with the controls.

Relevant question on Photo.SE

First: 4k for livestreaming is pretty overkill. Please remember that your streaming device (your computer) and internet upload speed need handle this... AND to top things of not all of your viewers will be able to watch the stream in 4k because of their internet and missing out 4k devices.
Alpha Gaming (Harris Heller) is covering everything you want to know about cameras (and livestreaming) in video form on youtube.
Here are the most popular (and very professional but "only" 1080p not 4k) cameras for livestreaming with very helpful information: a sony should be your choice
And here are some additional information for you before you choose your camera and lense: equipment all around your camera
IMHO, this should be your question: How much FOV (field of view) and DOF (depth of field) do you want?
If you really want to live stream in 4k (only 30 fps) then the SONY A6100 should be a good choice.

Hi MiTSCHO and welcome to Video.SE! Your answer is very dependent on the video links. If they go down your answer is no longer usefull. It's also not clear what video specifically answers this question. Could you perhaps summarize the conclusion of (one of) the relevant videos?

Hey Saaru Lindestøkke! I adjusted my answer and specified the videos.

Product-recommendations become out-of-date very quickly, but I would recommend the BMPCC4K. Black magic just came out with the 6k-Version of their pocket cinema camera and thus the price of the 4k variant dropped. All in all, I think that the BMPCC4K is one of the best cameras for this "cheap". You also have a HDMI-out that can be used for livestreaming. I'm assuming you're using something like the elgato usb camlink?

This is total overkill for live streaming. The smaller Blackmagic cameras would be more fitting.


text:
How to zoom into a video inside of a mask?
So I am trying to make a small clip wherein I have a solid black layer masked on top of a video to give it a film bar. Now at one point I want to zoom into the video without zooming into the solid layer. You can see my screen below. I am pretty new to AE. Any idea how I can go about doing this?

You can do this by selecting every layer except the solid (your letterbox) and precomping it. Then, you can switch into your precomp and do as much zooming as you like. If you then render the composition with your precomp plus the solid layer on top, your solid will be unaffected by the keyframing going on inside the precomp.

How do I zoom into into all those layers at once after pre comping it? I am sorry if this sounds too amateur.

I would make a black solid layer above all the others with your mask (as you have I think).
Then make a Null layer.
Parent all of the other layers to your Null layer.
See parenting tutorial here
Then adjust the scale of the Null and all the other layers will follow it.
Alternatively you could pre-comp all your other layers, but you will lose resolution on them as they scale unless you do some other things...

Yeah this is what I did. Thanks!


text:
Cropping 2048x1152 (16:9) to 1.85:1 removing black bars
for the past 48 hours I tried to crop the black bars of a 2048x1152 (16:9) video to a 1.85:1 aspect ratio (which is 2048x1107) so that the encoded video shows exactly what is meant to be.
First problem:
2048x1107 (1.85:1) is not common but is it basically possible to create?
Can i encode with libx264 with an odd number value like 1107?
Second problem:
If not, how can I make a crop & resize encode in one sitting?
Means...
Cropping 2048x1152 (16:9) to 2048x1107 (1.85) AND resizing the 2048x1107 (1.85, uncommon) to 1998x1080  (2K DCP FLAT)
I only manage to get a 1998x1080 (1.85:1) with too much cropped on all sides... :/
Thanks for you help, guys!

Duplicate (crossreference): https://superuser.com/questions/810471/remove-mp4-video-top-and-bottom-black-bars-using-ffmpeg

Duplicates only apply if the other Q is on the same site.

I haven't flagged it as a duplicate, I just put the duplicate from superuser there. This is the reason I added the "crossreference"...

You can carry out the changes in one command by chaining the respective filters.
Basic syntax is
ffmpeg -i input -vf "crop=2048:1107:exact=1,scale=1998:1080,setsar=1" -c:a copy out.mp4

As stated in my other comment, to get the exact cropping values, look at this: https://superuser.com/questions/810471/remove-mp4-video-top-and-bottom-black-bars-using-ffmpeg


text:
Video editing software for easy freeze frame voiceover
I'm currently using Movie Studio Platinum 16. When I need to make a voiceover (e.g. for a product presentation), I like to do it without a carefully planned script, just talking over the video and pausing the video when necessary to manually sync the video with the narrative. However, in Movie Studio Platinum 16 it's not possible, so I end up either rushing my voiceover or having to manually edit freeze frames afterwards.
Which video editing software allows doing voiceover to a video and "live" pause the video but continue recording audio in sync with the paused video?

I believe you can do this in both Adobe Premier and Final Cut Pro. Here's some links:
https://helpx.adobe.com/premiere-pro/using/recording-audio.html
https://support.apple.com/guide/final-cut-pro/record-voiceovers-verc1faa9c5/mac


text:
Can anybody please explain what camera settings (aparture, iso, wb, ss) have to do with visual/film grammar?
I understand the film "grammar" of shot types, framing, composition etc but don't understand what camera settings have to do with it.
This is one of the assessment criteria for a university project,
Successful application of visual grammar through camera technique (including aperture, ISO, WB and shutter speed).
What sort of "visual grammar" applies to those camera settings? Focus, light, depth and so on are controllable but not really grammar. Maybe on dolly or steadicam shots, but that's outside of our basic (handheld/tripod) project.
Are the criteria just confusingly worded or am I missing something?

I'm not able to state a conclusive definition for "visual grammar", but I'd say camera settings have a quite relevant role on building it. Depth of field (aperture) is crucial for focusing on a subject; ISO may be used for obtaining a noisy image which can be used to say something (to look like an amateur, or a security camera, for instance); WB might be used for creating a specific environment (to look like morning, or some 70's tv imagery).
All these settings may have, therefore, a role on the way you tell a story. A good exercise would be to watch scenes you like and try to imagine the settings used, and why these were chosen.

I would say that the criteria are confusingly worded. They mix ideas incongruously. Camera settings can't really affect the shot composition or framing, because those will remain the same whether you have a high ISO or a very wide aperture. ISO, WB, and shutter speed can only be used to affect how bright your video/image is. Aperture can be used to influence the depth of focus (smaller aperture, the background will be more in focus).  But yeah, I would say that you should probably ask your professor for clarification on this one.

Whitebalance is not used to influence brightness, you got that wrong. Aperture let's you alter the composition, I'd say, because you could make objects outside the depth of field blurry and therefore less noticable. Shutter speed affects how motion will look, it's not only an exposure parameter but has more creative potential.


text:
How to edit the DeNoise parameters for all cut parts of a clip?
I'm a newbie in video editing. I wanted to apply DeNoise filter in Adobe Premier Pro 2020, so I did so. Then I went on cutting parts of my clip, to jump cut parts of the footage.
Then I realized that I have to reduce the DeNoise level. So I did so for a cut part. Now I see that other parts do not change. And also when I cut a new part of the footage, new part has the old level and new level is not applied to it.
So I have two questions:

How to set DeNoise properties for all cut parts of a footage?
How to make Premier understand that this new level is the default level and when I cut another part, it should obey this new settings?

If you need to apply the same effect to a whole clip, you can use Master Clip effects:
https://helpx.adobe.com/premiere-pro/using/master-clip-effects.html
That way, you apply it to the file, and any clips from that file that you place into a sequence will have the same effect applied.  If you need to adjust it, you only need to do it once to the master effect.


text:
How do I trim text/video in smaller increments? (for Kinetic Type Video)
I want to trim a basic title element so it matches an audio file I have.
I want to drag the start of the title element to a marker on the timeline.
I can't do this because final cut keeps truncating the trim function.
How do I raise the resolution that I can trim at?

This behaviour is normal because a title element is bound to the video frame rate. All visual elements must start/end in "between" frames. In your example GIF you zoomed enough in and even can see the markers. Note the line just below the timecode.
The reason sound is not bound to this is because sound has a much greater Samplerate. If you think of Samplerate and Framerate as Data points over time then you understand video has commonly 24 or 25 (higher fps becomes more common) data points in a second, sound usually has 48000 data points per second.
Have your title element start at a frame what feels the best.

I feel like I need more accuracy in terms of lining the text up with the audio to make the video look compelling. Will using a program such as After effects allow me to do this?

As far as I know in all NLEs it would be the same. Visual elements are restricted to the video frame rate. IMHO nobody will see the difference if the text starts couple subframes earlier or later. Remember you zoomed in so far that you have almost 1 frame shown in the entire timeline and you have 25 of them I a second. Most people can’t even see when the sound is off sync by a frame or two. I don’t think It gains you any more accuracy.

It is possible I have inadvertently changed some setting in final cut pro which lowers the resolution of the timeline?

Not necessarily, you always can zoom into subframe level. Just zoom out until you see some clips next to each other. Then adjust the text to the sound. One frame won’t make a difference.


text:
Does LG v30 record HDR video in manual mode
Does LG v30 record HDR video in manual mode or it's only in automatic mode ? Thank you

Have you looked at the phone specification docs?

Yes, it records. Nothing about automatic/manual modes, which is the question about


text:
custom DaVinci Resolve key mapping does not work
I've changed the key binding for the edit page, such as by hitting backspace (the default) or by hitting x then the selected clips are deleted. I made sure that DaVinci Resolve is using my custom saved profile and yet it is still not working.

The solution turned out that if a key is already mapped to something else then it won't work. Davinci usually points out errors if something is already mapped however as seen from the attached image, no warnings are triggered so I assumed it should work.

EDIT: I was able to assign and de-assign 'c' to be the same as backspace. That's weird. When I added 'c', it showed up on the right of the backspace in your screenshot, but when I closed and reopened, it have moved to the left as in your screenshot. I'm using 16.2.3 on a Mac. Sorry I don't have any tips. Maybe your preferences are corrupted somehow?

There doesn't seem to be a way to type in lower or upper case letters. In any case, I tried every single character in my keyboard, including periods, commas. etc, none have worked except for numbers. Pressing shift did not help either.


text:
I want to produce a scrolling image
I have an image (say .png) of big vertical size. I want to create a video that shows this image slowly scrolling from the top to the bottom. How?
ffmpeg? pymovie?

https://stackoverflow.com/a/56528803/856090

Most quality editing (Adobe Premier, Final Cut, etc.) will allow you to do this pretty easily with both text and images using "keyframing". You can make them scroll, zoom in, or whatever other movement you need. There's tons of videos on how to do this on Youtube, but here's one for Adobe Premier:

I think he's asking how to do it programmatically, which he didn't really make clear in the question.  Your answer isn't so bad that it deserves a downvote.


text:
One Word vs. Multi Word YouTube Channel Name
I'm getting ready to create a channel name with three short words. I'm trying to decide if it would be better to mash them together into one word or keep separate words. Searches for the subject only find people talking about how to create a one word channel, not why. I noticed that the trending and recommended videos on the front page are a mix of mashed together words and multi word names. Any advice on which would be better and why is appreciated. Thanks!

That's not a video question. A channel name is like finding a title for your œuvre. The question may fit better to https://writing.stackexchange.com/

Looking at Writing SE posts, I don't think it would be welcome there. I noticed these posts here: Monetizing..., Starting... and Will a Youtube... and thought this might be the right place.

I don't think it really matters. People do both all the time. It really all just comes down to the content you provide, using appropriate tags on each video, and being consistent with your postings.

If you mush all three words together, it will make the name harder to understand. On the other hand, having all three words as one word may make the name more recognizable, if the name you chose is a common phrase. If your name is three words, when people look it up, they may find videos about that topic listed above your channel. This would limit your early exposure, as people looking for videos about Video Editing Explained (or whatever your channel will be called) would probably find videos about that listed above your channel. I light of that, putting your three words together as one word would probably be better.


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Video hosting with local control
I am writing a web application with video lessons in sequence. I want to use a streaming service for high availability and compressing content for different viewports. I would like the user to watch a video to unlock the next one. And I would like to monitor the number of views to know when to release the next one. And I would also like to keep the option of releasing the video publicly with those views counting toward the total number of views.
I read about OAuth on Vimeo and think that something like tokens could work, although I'd also need to make an API call to check if a user with a token did finish watching the video.
Does any video streaming service do such a thing?
(Migrated from WebApps where the question got no answers in one week.)

I see 2 things you are trying to achieve here:

video is private, but becomes public. at api.video, we have the concept of private videos - where users must have a one time token to watch.  Anyone else using that token will be unable to watch the video.  Once you reach your view threshold, you can make the video public - removing this token behavior.

Monitoring the views of each user.  We have a concept of dynamic metadata - where you can attach session information to each view.  You could track each user's viewing in this way. For example, if you wanted to tag a view as watched by Bob:
https://embed.api.video/vod/vi2ZEgTAhfOEeYN7ZnEGsm3i?metadata[user]=bob

When you load the page of videos - you can query the video analytics for sessions for user=bob.  Each session will list the videoId, and the start/end time of the session.  Your app logic can decide if enough of the video was watched to unlock the next video.


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How are/were low-light scenes such as concerts shot on film?
I recently watched a video of Led Zeppelin in 1973 and it dawned on me that these were shot on film, and as a film photography hobbyist it dawned on me that the picture quality for handheld film at a low-light concert is pretty good, or at least significantly better than what I could accomplish with my 35mm SLR. How was it done? Was it shot at some insane aperture like f/1.0, did they use special film, or was the stage brighter than what I'm expecting?
Video in question:

I was an assistant editor on Song Remains the Same. I think the fast lens answer is probably correct and I think the stage was lit a lot more than you would think. It was shot multi camera at MSG and single camera on the other material. To my knowledge there was no special stock used but it may have been pushed in the labs.

Multiple possibilities, many of them you have mentioned. I believe the most likely is that the person who filmed this used a "fast lens", meaning a lens that lets in lots of light. If you want to know more about the process of filming in low-light conditions on film, you can check out documentaries on Barry Lyndon by Kubrick.


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How to add automatically a video ending?
Long story short, for internal trading videos updates i need to add a predone video cut to a lot of old videos. I need a way to not having to pass everyone one by one by premiere. Any software that could do that?

are you familiar with ffmpeg? You could write a batch-script using ffmpeg to concat the ending to any video automatically after running the script.

@Florian Claaßen Never used it and coding is not my expertise, to say the least

Assuming all your clips are the same format and dimensions:
Using FFmpeg, I think this would append the "ending.mp4" on to "file1.mp4" and save it as "output1.mp4":
ffmpeg -i "concat:file1.mp4|ending.mp4" -c copy output1.mp4

On a Mac, I would install Homebrew, then run the ffmpeg brew command to install FFmpeg.
You can also do this using Adobe Media Encoder, but would take longer if you have many clips.

Quicktime in Apple has a trim and drop edit function built into the player app.
You just copy your footage in the time line and drop it into the old footage in the right place. Pretty useful for a light edit.

Note that OP asked to do that in batch. Your method is just too cumbersome and repetitive.


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Editing a Mac Screen Recording in Premiere Pro causes image fragmentation
I'm making some tutorials about how to use a website. I'm using the built in Apple Screen Recording to record the screen on a Macbook Pro with a retina screen. I'm then loading the resulting .mov file into Premiere Pro to edit it and add some audio (recorded separately) to a finished version.
When I edit the footage in Premiere Pro the preview often fragments and after a couple of seconds shows an unfragmented view, but that unfragmented view is many frames, sometimes many seconds, back from where the timeline is. When I move frame by frame, it will show a slightly fragmented image, then jump back to an image from many frames back or several seconds back.
When I export to file by matching the sequence settings in the export options, it produce less fragmentation than I see while editing but there is still some. For some exports when I open the exported file to view in quicktime and hit play, it does not play the video, but if I scrub through a bit it will play and then I can scrub back to the beginning and it plays.
This is a screengrab of my Premiere Pro preview window after moving the timeline.

Is this something to do with frame rates in the original recording from the Mac Screen record utility? What frame rate does it record at )or is it some sort of dynamic frame rate) and is there a way of setting up premiere pro to handle that frame rate, or the footage that the Mac Screen Record utility creates?

I see 2 likely causes:

I think Premiere still supports only frame rates up to 60 and your videos may be recorded with higher fps. Premiere tells you what the fps is, for example in Source Monitor, right click on Properties. Or in the Project Panel, you see the fps (you may have to scroll quite a bit or add the column if it's missing). If your material is beyond 60 fps, try converting it with any other tool, like ffmpeg.

Other users recently asked similar questions (see [1], [2]), so I wonder if there is a bug in Premiere or certain graphics driver versions. If so, you could try to install a slightly older version of your graphics driver. Otherwise maybe contact Adobe support.

Thanks @Matt, I can see that the FPS of the video that has come out of the Apple Screen Recorder is 60fps (and the Video Codec is MP4/MOV H.264 4:2:0).  I'll try running the video through ffmpeg or handbrake first and report back

With "up to 60 fps" I actually meant up to and including 60 fps. I'm not sure if the conversion helps much because your source material should be fine then. But it can't hurt to try.


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How to remove video streams from .wmv with FFmpeg?
I'm working on a method to programmatically remove video and subtitle streams from video files of various formats and have been having some trouble with most .wmv files. Below is what I believe to be the minimal command required for this:
ffmpeg -y -i a.wmv -c copy -map 0:a -map 0:d -vn -sn b.wmv
And here is the output I'm getting
  built with gcc 9.1.1 (GCC) 20190807
  configuration: --enable-gpl --enable-version3 --enable-sdl2 --enable-fontconfig --enable-gnutls --enable-iconv --enable-libass --enable-libdav1d --enable-libbluray --enable-libfreetype --enable-libmp3lame --enable-libopencore-amrnb --enable-libopencore-amrwb --enable-libopenjpeg --enable-libopus --enable-libshine --enable-libsnappy --enable-libsoxr --enable-libtheora --enable-libtwolame --enable-libvpx --enable-libwavpack --enable-libwebp --enable-libx264 --enable-libx265 --enable-libxml2 --enable-libzimg --enable-lzma --enable-zlib --enable-gmp --enable-libvidstab --enable-libvorbis --enable-libvo-amrwbenc --enable-libmysofa --enable-libspeex --enable-libxvid --enable-libaom --enable-libmfx --enable-amf --enable-ffnvcodec --enable-cuvid --enable-d3d11va --enable-nvenc --enable-nvdec --enable-dxva2 --enable-avisynth --enable-libopenmpt
  libavutil      56. 31.100 / 56. 31.100
  libavcodec     58. 54.100 / 58. 54.100
  libavformat    58. 29.100 / 58. 29.100
  libavdevice    58.  8.100 / 58.  8.100
  libavfilter     7. 57.100 /  7. 57.100
  libswscale      5.  5.100 /  5.  5.100
  libswresample   3.  5.100 /  3.  5.100
  libpostproc    55.  5.100 / 55.  5.100
[wmv3 @ 0000024f26ba3ac0] Extra data: 8 bits left, value: 0
Guessed Channel Layout for Input Stream #0.0 : stereo
Input #0, asf, from 'a.wmv':
  Metadata:
    copyright       : ChessBase GmbH
    WMFSDKVersion   : 12.0.9600.17415
    WMFSDKNeeded    : 0.0.0.0000
    IsVBR           : 0
    DeviceConformanceTemplate: MP@ML
  Duration: 00:00:23.08, start: 0.000000, bitrate: 526 kb/s
    Stream #0:0: Audio: wmav2 (a[1][0][0] / 0x0161), 48000 Hz, stereo, fltp, 96 kb/s
    Stream #0:1: Video: wmv3 (Main) (WMV3 / 0x33564D57), yuv420p, 640x480, 415 kb/s, 25 tbr, 1k tbn, 1k tbc
    Stream #0:2: Data: none, 10 kb/s
Could not write header for output file #0 (incorrect codec parameters ?): Operation not permitted
Stream mapping:
  Stream #0:0 -> #0:0 (copy)
  Stream #0:2 -> #0:1 (copy)
    Last message repeated 1 times

When I try to specify either local_header or global_header, I get
[aac @ 00000297ccbac080] Qavg: nan
I tried to research it for quite a while, but since I don't really understand much of any of this, I didn't get any good leads.
What is this problem and how do I solve or work around it?

Likely due to the data stream. Confirm by removing 0:d map.

Then I get [aac @ 0000024da6382340] Queue input is backward in time [asf @ 0000024da6381000] Non-monotonous DTS in output stream 0:0 and the file won't render! Is there a way to specify reencoding of the data stream or something?

Apparently, I needed to specify pcm_s16le as the audio codec. Other files (not in the snippet from the question) where using aac, .wmv required me to specify otherwise.


text:
Compressing to youtube quality before editing
As my old version of Premiere Pro didn't support .mts files (files straight from my camera) I used to have a ridiculous workflow:

Upload the video to youtube
Download video as mp4
Make relevant edits
Export video
Upload to youtube

This seemed like a totally ridiculous workflow, so I started using DiVinci Resolve as it supported mts files.
The problem I have now is as the file is still in it's original (massive) format, it is slow to do anything and rendering takes hours.
I'm more than happy with the quality of the tiny .mp4 file that youtube returns to me so is there a way I can do the same kind of conversion with Resolve? It seems so ridiculous to upload to youtube then download, but at the moment seems to still be the most efficient.
Thanks!

Use proxy videos to transcode the mts files into something usable. Here's a short tutorial to get you started:

This video demonstrates a non-standard method of using proxy files in Resolve.  It's a good method, and one that provides more control than the default, but it's worth mentioning that you can right-click on any clip in the media pool, and select "Generate Optimized Media."  As long as "Used Optimized Media" is checked in the Playback menu, Resolve will manage the files automatically, automatically use the best quality at render time, and you'll never see the panic-inducing missing media badge.  The downside is it's all or nothing, and sometimes breaks.

Thanks for the additional info. I'm not using DaVinci much and didn't know that.


text:
Transition for stopping after lightspeed travel
I am working on a video where I zoom into space and jump to another scene. My perspective is to do something what Andrew Kramer did in Star Wars Title.

I took help from the following video to radial blur and zoom in with optics compensation.

Its all okay till the first adjustment layer. But the zoom out transition doesn't feel right.(It feels the stars are traveling backwards)
I am looking for similar kind of transition as in the link below but just without the light.


text:
Why is the Japanese version of a film often on a separate title on a Blu-ray
Lots of the Blu-rays I own (bought in Europe) have audio and subtitle tracks in many languages. Often, they also contain Japanese. However, on most of those, the Japanese audio and subtitle track is on a separate title, as can be seen here for “Badlands”:

There is no other discernible difference between the titles. They are the same length, the video track is identical. I guess this means that whenever the Japanese title plays, customers will only be able to switch languages and subtitle between Japanese and English and not see any of the other languages.
Is there a technical, legal or cultural reason for this? If so, which one?


text:
How do I remove the grey bars that appear after a layer in the timeline?
I see some grey bars in my timeline after a clip that I can also move forwards and backwards. What's their purpose and how do I remove them so I can just have blank space in their place?

They show you where the rest the unused part of your clip is relative to your timeline.
So if you used the first 5 seconds of a 10 second clip in a 10 second comp, you would see a greyed-out bar form 5-10 seconds in your comp.
You can drag the edges of your clip out to extend it in your timeline.
To remove them you would need to change the duration of the clips you've created.
A useful function in a pre-comp is "Trim Comp to Work Area" which trims your comp to where your Beginning and End markers are.


text:
synchronization of ingested live streams on media server & playback device (obs)
I have multiple input sources for A/V streams I want to publish to a media server, and then have those stream broadcasts to be able to be sychronized for playback, for instance, as two separate media sources in OBS.
I have been investigating different technologies, stream protocols, media servers, etc to achieve the result im seeking.  So far, I have read up on RTSP (RTP/RTCP) protocol and having the the senders use features of RTP to sync to a common NTP clock that the receivers (rtpendpoints) would sync to as well.  the playback device, i would assume have to have its system time synced to the same NTP server too.
My question is what are some of the simplest ways to deploy such a setup?  Can I use WebRTC to stream to a media server (Ant Media Server or Kurento?)  If I want the streams not only in synch at re-broadcast,  would I want to broadcast the ingested streams via RTSP protocol that would then be used as media sources in OBS?  What else would I need to do to ensure synchronization (i.e,  NTP synching,  encoding via Gstreamer, rtpbin, etc?)


text:
Sony Vegas - Rendered file showing 30 FPS when project and render settings set to 60 FPS
Some I am trying to render a video at 60fps in Sony Vegas but when I check the properties of the rendered file, it shows 30fps. Details below:
Original Clip frame rate: 50fps
Project settings: See below

Render Settings: See below

Is anyone able to advise why this is happening?
Thanks in advanced.

For starters, uncheck "Allow source to adjust frame rate" flag. Are you sure the source is 50p?

@RustyCore that was it for me, many thanks! Really weird, because I have not touched that particular setting ever, but after a big Vegas Pro 18 update it seems to have started taking effect on my renderings suddenly.