text:
What kind of camera do I need to record a video with the quality that is in the linked YouTube video?

Please provide camera models if possible. Not knowing this is driving me crazy haha

@HappyTurtle - the point the posters and commenters are making is that it doesn't matter which camera (within reason) so making a recommendation on a specific camera is not helpful.

@DrMayhem It would be very helpful. DrMayhem, It's been over 2 weeks since I posted this question and ive yet to receive any useful information. Please tell me the cheapest camera model you know of that is capable of shooting a video of this quality. Sad that on StackExchange of all places I cannot get my question answered.

That is not what this site is for - it explicitly tells you that in the welcome pages. We are not a shopping recommendation site. So it's not sad. It's deliberate.

Comments are not for extended discussion; this conversation has been moved to chat.

Netflix, the BBC, Amazon, and others that commission and/or broadcast content maintain a set of professional standards that specify everything from acceptable cameras to file naming conventions.  The Netflix list of approved cameras is here.  I would offer that by studying these lists (which talk about not only resolution, but also bit depth, chroma sampling, bit rate, compression rates, etc) you can see where the professionals draw the line between claims made by prosumer camera models and what is standard industry practice in 2018.
There are people who are shooting real feature-length productions for theatrical distribution on iPhones.  Because that's the director prerogative: their movie, their aesthetic.  But I would say that the approved camera lists give a good idea of what sort of camera produces the mainstream image quality you see in professional-quality productions, which that YouTube video seems to demonstrate.  And those cameras typically more than $2,000.
And, as noted before, you could have a $80,000 RED Monstro with a $45,000 Zeiss Master Prime lens and you won't get that quality without proper lighting, set design, etc.  But if you have a great set with great lighting, then you can do a lot with cameras in the $2,500-$45,000 range (and lenses in the $2,000-$20,000 range), which you can find on the Netflix approved camera list, or elsewhere (for other broadcast/streaming specifications).

Pretty much anything modern from Grass Valley, Sony Broadcast or Panasonics Broadcast division would be well capable of this, if combined with decent glass and a skilled camera and rack operator. It is after all only HD, so nothing particularly state of the art.
All of that kit is well north of £2k however (Maybe 10 - 20 times that), even before you consider the glass which is just a bit important, and the skill of the operators for which there really is no substitute.
I would bet that that crew could shoot something that looked substantially the same on a modern DSLR with a few trimmings (Matte box, some rails, some decent video glass, and a case of filters).
For many of those shots there is clearly plenty of light and given the shallow depth of field the apertures are clearly wide open so sensor noise should not be a big issue, this is not that big an ask of a camera chain.

Thank you for giving me a straight forward answer. I appreciate it. when you say "I would bet that that crew could shoot something that looked substantially the same on a modern DSLR with a few trimmings (Matte box, some rails, some decent video glass, and a case of filters)." Could you give me an example of the DSLR camera model you were referring to? That would help. Ex: Canon 80D, Sony a6300, etc.. Being specific helps :)

I don't really do much with the DSLR end of the game, being as they are not something you tend to see in OB Trucks and studio galleries (Which is where my gear goes), but from what I have seen I doubt that many of the current DSLR for video camera chains would have much trouble with the right glass and in the right hands. My point really is that given the right crew and DP there is nothing there that is particularly difficult from a camera chain perspective. I will leave product recommendations to someone who plays in that space.

That''s upsetting that you cannot provide a product recommendation, seeing as how you seem to really know your stuff, but I appreciate your input so far.

You would have me advise on products that I have only played with a little? Far better to find someone who knows that end of the game and what the tradeoffs are. There is more to a camera then just the sensor, weight, balance, ability to tie into standard batteries, availability of an SDI feed for preview monitoring, viewfinder modes, can you rack the camera remotely, can you pull focus remotely, how about aperture? can you stripe Timecode, can you generate it? Does the thing have a tally input? How about an input for preview loopback from the switcher? What matters for your application?

"What matters for your application?" Having a camera capable of shooting this quality of video. That's it. Let me worry about all the other intrinsics. I appreciate your input, even if it didn't help. Thanks for trying


text:
Video files are larger after conversion
I'm converting video files to watch on my iPad from .mkv to .mp4 as per the settings in avc.
What i'm finding thou is that the original .mkv of 147mb is being converted to .mp4 of size 560mb.
Nearly increasing 4 times.
Any advice?

What specific program, bitrate, resolution etc. At least attempt to add details

MKV and MP4 are container formats. AVC is encoding format. File size does not depend much on container type, although some containers allow for smaller file sizes, like MKV takes less space than TS because metadata is not repeated in the stream.
The single defining parameter of file size is data rate. Depending on the encoding format, frame size and frame rate you should select a reasonable data rate when encoding. Say, 5 Mbit/s for MPEG-2 Part 2 may be too low for HD video, but more than enough if you choose AVC/H.264.
Also, "mb" means "millibits". If you wanted to write "megabytes" you should have capitalized both "m" and "b".

source: Stack Exchange

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

sort: votes


text:
Maya Python - File node not updated during script runtime
I'm writing a Python script that loads a file node and sets up some of its attributes. Then I question that node about its coverage. I want to get those values to later set up scene resolution:
import maya.cmds as mc
...

covX = mc.getAttr('fileNodeShape.coverageX')
covY = mc.getAttr('fileNodeShape.coverageY')

mc.setAttr('defaultResolution.width', covX)
mc.setAttr('defaultResolution.height', covY)

However, if I print covX and covY, I always get 1 and 1. It's just as if the file node wasn't fully loaded during script runtime, and that coverage had only its final values at the end (if I later check my file node in the attribute editor, both values are OK).
Is there something to do? I tried to check Preferences > Settings > Files/Projects > Image Files > Automatically reload updated image files, but this doesn't change anything...
Thanks!

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


text:
How could I concatenate 3 videos with ffmpeg?
I got the following command for concatenating 2 videos, now if I want to concatenate more than 2 videos then how could I do?
ffmpeg -i intro.mp4 -c copy -bsf:v h264_mp4toannexb -f mpegts intermediate1.ts
ffmpeg -i outro.mp4 -c copy -bsf:v h264_mp4toannexb -f mpegts intermediate2.ts
ffmpeg -i "concat:intermediate1.ts|intermediate2.ts" -c copy -bsf:a aac_adtstoasc output.mp4

Kindly help me with this. I saw other questions also but those commands are different.
TIA


text:
Scaling video lowers quality in Premiere Pro
I try to create a Picture In Picture effect where a smaller video playing in parallel on top of a background video. I dragged two videos of same size and codec into timeline and scale one of the video size to 60% from its original, keeping the background video to its original size.
After I down scale the video I notice the quality of the video deteriorate, as shown in the screenshot the text clearly gets blurry. Why this is happening and how to resolve this problem?

You appear to have your zoom level set at 400%, that's definitely going to cause some image distortion when you're looking at it. If you just did that for the screenshot, try undocking the monitor, resizing it and taking a screenshot of just that with the zoom set to 100%.

As of Adobe Premiere Pro 2020 (14.3.1) you need to use plugins to be able to use of different interpolation algorithms for scaling footage.
For example the free 'PixelPerfect' Plugin by Autokroma adds Nearest Neighbor, Linear Interpolation and Nearest Neighbor with Anti Aliasing: https://www.autokroma.com/Vizual

Why this is happening: because an interpolation method the Premiere uses for scaling kills high frequency details (ie., sharp edges, as text or some thin elements of the GUI are).
A scaling interpolation method (in our case, Lanczos method, as an Adobe employee mentions here) is an algorithm used to map an array of pixels of one size into an array of a different size. You have a 200x200 image and want it to be 400x400. What do you do? Quadruple each pixel of an original image so it will take 4 pixels in an upscaled image? Or blend the neighboring ones somehow?
There are a couple of algorithms developed, like Nearest Neighbor, Bilinear, Bicubic and Lanczos. They differ in computational complexity and in the quality of the results they produce. And the quality (here we finally come to your question) also depends of the nature of the source material. Adobe chose Lanczos because it does a decent job at scaling natural images taken by camera. If this was an image of a person, you would expect that a scaled down version will not have the individual hairs and the little marks on the skin to be seen in the same detail as they are seen on an original larger image.
Yet, you are scaling down a different kind of footage – the screen capture of a software GUI. The one you'd want to see all the sharp details even on a scaled down image. As you see, the Lanczos method does a bad job here.
And we come your second question: what algorithm would do a better job, or how to fix this?
Short answer: in Premiere, you can't.
Long answer: a scaling algorithm we need is a Nearest Neighbor algorithm. This one preserves the sharp edges of the GUI just as we like it. Adobe After Effects has it (called "Draft" scaling quality). Premiere doesn't (natively). You can try your luck searching for "Nearest Neighbor scaling plugin" for Premiere.

Since no one else has done so yet, I'm going to attempt a super low-tech answer to your question here: when you downscale you're literally user fewer pixels to display the image so any downscaled image is going to lose some image sharpness and fine detail (due to how the software is resampling the image); to my knowledge, the only thing you can do about this in Premiere is to use a Sharpen effect on the scaled footage to reintroduce some image sharpness - don't overdo it, though.
I'm not sure what sort of resampling Premiere does but I'm guessing that you might get better results going into a program like After Effects to do your picture in picture because you can alter the sampling method that the program uses (draft, bicubic, bilinear) which might give a better result.
Please, please correct me on this if I'm wrong!

The best solution here, to prevent blurriness, is to have your main workspace video in 4k despite if the main video is only 1080p.  This way as you scale down the clips, it will retain most of it's pixels at least until you hit 1/4th size (1/2 high, 1/2 tall) anything further than that and you will start to get blur again but since it's 4k, the blurred pixels will be much smaller and harder to notice.  By taking a 1080p video and shrinking it, you are throwing away pixels so Premier scales the video into less pixels giving you blur and losing fidelity.


text:
How can you create on-screen text messages using video editing programs?
I want to recreate the on-screen text messages technique seen in things like House of Cards or Jane the Virgin. How can you do so and what would you use? Thank you! I use Final Cut Pro to edit my videos, if that's important at all.

If you have Motion you can create this yourself. Publish them for FCPX and you can change the text and other parameters directly in your timeline.
https://support.apple.com/kb/PH16056?locale=en_US

These are actually really simple shape/text overlays with a bit of animation. You could probably do a quick and dirty version (though, honestly, it wouldn't even look that dirty!) right in your editor by dropping on some shapes and writing over them in text.
Alternatively, you can create high-resolution versions of the messages in something like Photoshop or Illustrator (or GIMP, if they aren't available) and export them as PNGs which you'll then drop into your project (I use Premiere Pro so I don't know how well FCP talks to Adobe programs - sorry!).
Personally, I use After Effects for things like this and, again, you can either create the text messages in Ae or use Ps/Ai to create the individual layers then import that into your project.
In terms of making it work, there are multiple ways of doing this, too. You could just create a single image and mask areas off until you need to see them (at which point you can animate the mask to reveal the messages or just remove it for simplicity). Or you could animate each message coming in with a swipe or a pop or, perhaps, you could have the sender scale on, the message bubble pop on and the message write on one at a time - entirely up to you!
One more thing - don't worry about sticking too close to a particular design, or about copying the little flick at the bottom of the bubble - as long as you can tell at a glance (ie: without reading the sender info) which messages are incoming and which are outgoing (different colours/left and right margins) you'll be fine ;)


text:
Live Streaming Video Camera?
Are there any video cameras (recording over 30 minutes of footage length) that have live streaming services (RTMP) built-in to the camera? I know there are a ton of cameras with YouTube (etc.) uploading capabilities with built-in Wi-Fi, but I'm asking specifically for live streaming.

The JVC  GY-HM200 has live streaming capabilities - http://pro.jvc.com/prof/attributes/features.jsp?model_id=MDL102319.
I've never used that particular model (so have no personal experience of the live streaming functions) but I do use the 170 and it's a solid little camcorder with a great range of options (including shooting in 4K and at high speed - though not at the same time), it's fairly robust and delivers great quality for the price.

Unless you're attempting to be out and about and live streaming from a hotspot, look into just outputting the camera directly to a computer (or a switchboard if you need it), and capturing that footage with something like OBS.
Provided you're on a budget, you can probably just connect whatever camera to your existing laptop with the right cords and use OBS to connect to the RTMP, and that works for both options.
Another option is to use a gopro, so the camera can be wirelessly connected to the hotspot, the footage can be displayed and window/monitor captured from the computer.

Thanks for the answer, but it doesn't answer the question. I'm fully capable of setting up a computer to publish a live feed. I'm looking for video recording and publishing in one unit.

It wouldn't let me comment to clarify on your post so I laid some options for you, or more likely, other people that stumbled onto this looking for streaming on the go options.  Best of luck.


text:
Rotating image/video about an axis within xy-plane in FCP
Is it possible to animate a photo/video so that it continuously rotates about an axis within the xy-plane? For example, rotate it about the y-axis. I know how to regularly rotate a video (rotation about z-axis), and I know you can keyframe using distort with keyframe, but was wondering if there is a way to continuously have a shape rotating about a vertical axis. This would be like 3D-rotation.
For example, having the image of a card continuously "spin" vertically.

If you don’t want to use keyframes than it sounds more like a job for Motion or you might be lucky and find a plug-in for this behaviour.
I couldn’t think of anything else than keyframes.

FCPX doesn't have this behavior built in - My suggestion is to build the effect in Motion using either the spin behavior or keyframes and dropzones (placeholder layers), and export as an FCPX Template. You can then use it repeatedly from the effects pane in FCPX directly.
Spin Behavior
Motion -> FCPX Templates


text:
ffmpeg: How to avoid "start: 0.033333" when extraction audio from mp4
When extracting audio and video separately from a mp4 and recombining again
ffmpeg -accurate_seek -ss 30 -t 10 -i input.mp4 -vn output-audio.mp4
ffmpeg -accurate_seek -ss 30 -t 10 -i input.mp4 -an output-video.mp4
ffmpeg -i output-audio.mp4 -i output-video.mp4 output-combine.mp4

the three mp4-s have different length according to ffprobe:
ffprobe output-video.mp4
Duration: 00:00:10.00, start: 0.000000, ...
ffprobe output-audio.mp4
Duration: 00:00:10.03, start: 0.033333, ...
ffprobe output-combine.mp4
Duration: 00:00:10.08, start: 0.033333, ...

when combining audio and video with -shortest
ffmpeg -i output-audio.mp4 -i output-video.mp4 test-combine.mp4

the length is
ffprobe output-combine.mp4
Duration: 00:00:10.04, start: 0.033333, ...

How can the start-offset (0.033333) be avoided so that all parts have the same length and the original part can be restored by combining audio and video?

Share full log of ffmpeg -i input.mp4

Correction: instead of
ffmpeg -i output-audio.mp4 -i output-video.mp4 test-combine.mp4

it should be
ffmpeg -i output-audio.mp4 -i output-video.mp4 -shortest output-combine.mp4

Kind of answer:
ffmpeg -i output-video.mp4 -itsoffset 0.033333 -t 9.966666 -i output-audio.mp4  output-combine.mp4

seems to do the job, although the result differs in file-size slightly from an direct extraction (direct is bigger than combine) done with
ffmpeg -accurate_seek -ss 30 -t 10 -i input.mp4 output-direct.mp4


text:
Imovie 10.1.9 clips turn solid black in Final Cut Pro X 10.3.4 after "Send Movie To Final Cut Pro"
Better describe "steps to reproduce", than wrote bunch of text.
What has been made:

Clips has been captured by iPhone 8 Plus with 4K and 60fps.
Clips has been added to iMovie project from Photos.app library.
Clips has been trimmed and rearranged in iMovie.
Sound has been added as a separated track from .mp3 file.

Menu button "File/Send Movie To Final Cut Pro" has been pressed.
Imovie project has been successfully transferred without warnings.
All clips video, graphic parts turn to solid black.
Sound plays with no problems screen shows solid black rectangle.

What has been tried to solve problem:

Preferences restoration to default for iMovie.
Preferences restoration to default for Final Cut Pro X.
Library has been trashed and new one was created for iMovie.
Library has been trashed and new one was created for Final Cut Pro X.
Videofiles from another source (YouTube) has been tried.
Another projects has been created.

Suffering through with no luck. Looking for help.

Sorry for panic. Answer has been found.
Problem: Final Cut Pro X was unable to see 4k 60fps videos captured by iOS devices.
Reason: Unknown.
Solution: Need to update Final Cut Pro X to 10.4.1 version.
Source: https://support.apple.com/en-us/HT208131


text:
Industry standard HDMI extension?
We're recently purchased a new lighting console in our small theatre that supports video output over HDMI. We want to run the signal from the control room out to the proscenium but don't want to settle for a consumer grade HDMI extender. What is a quality device that we can permanently install that can transmit a strong HDMI signal? What are most theatre spaces using for this application?

Used a $20 adapter I had laying around and discovered that the console itself has a built in extender. It's sending the signal 160ft no problem.

If you’re going wired, you’re going to be limited to roughly 25 feet before you need to reclock the signal. HDMI simply isnt designed for long runs. There are 50’ cables out there, my experience is their performance is spotty.
You could go with a Wireless Solution HDMI solution. I recommend the Nyrius line of transmitters/receivers which you can buy on Amazon. The Pro version is roughly $300 and you can get a solid HD signal to reach 100+ feet line of sight.
Otherwise, buy the Black Magic Design converters, one to convert HDMI to HD-SDI and one to convert HD-SDI to HDMI and run a long BNC cable. That solution will give you 300 Feet.
If you need longer, do same as HD-SDI concept but do Fiber LCLC instead. you can run it 25 Miles.

I’d argue not to use wireless, having worked in theater and event AV as a student. Wireless is not super reliable, and in theater even the most reliable stuff is unreliable. I’d go with an HDMI extender, running the signal either over HD-SDI, Cat6 or Fiber. It’s worth shopping around for these products, but SE is not really a product recommendation site.


text:
kdenlive - select project video orientation
I have a project with two video clips, made with smartphone, one is horizontally aligned and the other vertically aligned.
I want my project to be horizontally aligned (landscape), but I can't find where to set it, and I don't know why kdenlive set my project settings according to my second video clip, the one that is vertically aligned (portrait). Therefore my landscape video is now cropped.

How to set the project (project, not clip) video orientation, landscape ou portrait?
I went to project settings and it didn't help, since it is already 16x9


text:
FFMPEG - The result of converting video to hevc format lost audio (video only)
I'm new in programming, I have some movies and want to convert them to hevc format to reduce storage space but keep quality video, i tried with my code through ffmpeg:
**for %b in (*.mp4) DO ffmpeg -y -i "%b" -r 30 -g 50000 -q 22  -filter:v scale=650:-1 -c:v libx264 -c:a aac -b:a 320k -ar 96000 -f hevc -pix_fmt yuv420p -b:v 10500k -strict experimental -shortest -x264-params -lossless 1 -tag:v hvc1 -movflags +faststart -threads 4 "output\%%~nb.hevc
Raw in pastebin
(The directory I tested: secufiles!
)
I tried changing a lot of code but the result is still the same, the video only has images without sound, ffmpeg says me: "-qscale is ignored, -crf is recommended.", Please help me Or give me an idea for this code.
I am really grateful for any help from you.
Thank you very much.

See https://trac.ffmpeg.org/wiki/Encode/H.265#ConstantRateFactorCRF

There is so much wrong with your command that it would take too long to list every issue. It will be simplest to just provide a corrected command:
ffmpeg -i input -c:v libx265 -crf 28 -c:a aac -b:a 128k -filter:v "scale=650:-2,format=yuv420p" -tag:v hvc1 -movflags +faststart output.mp4

If the input audio is already AAC consider stream copying with -c:a copy instead of re-encoding.
Depending on the input format this may not be worth the time, energy, and effort. Results may not be satisfactory if you are re-encoding lossy content. The artifacts present in the input can complicate the compression and result in a higher than expected file size and/or lower than expected quality.

For more info see:

FFmpeg Wiki: H.265
FFmpeg Wiki: AAC


text:
Morph cut anything in Premiere
Instead of its key purpose, can I apply that effect (the effect we get when applied to a face) to other objects as well? If I can't do that with this method, is there an another way?
Thanks in advance

No, and if you try the Adobe police will come and send you to prison. I shouldn't even be speaking to you, you're using an effect in an unapproved fashion, don't you know how much trouble you're in?

Seriously, tell us, what happened when you tried?

it takes forever to "Analyze in background"


text:
What is algebraic effect of transforms in Adobe After Effects Keyframe Data file?
I want to write software which peforms a pan, zoom, rotate, and resample on a 3840x2160 input video, yielding a 960x540 output video. I have an keyframe data file, exported from Adobe After Effects, which specifies the pans, zoom, and rotate actions I want, in terms of key frames. I could let Adobe After Effects render the output video, but instead I want my own software to do this part.
The file looks like this:
Adobe After Effects 8.0 Keyframe Data

    Units Per Second    29.97
    Source Width    3840
    Source Height   2160
    Source Pixel Aspect Ratio   1
    Comp Pixel Aspect Ratio 1

Transform   Scale
    Frame   X percent   Y percent   Z percent
    0   200 200 0
    150 300 300 0
Transform   Anchor Point
    Frame   X pixels    Y pixels    Z pixels
        1920    1080    0

Transform   Position
    Frame   X pixels    Y pixels    Z pixels
    0   480 270 0
    150 -4800.88    2356.12 0

Transform   Rotation
    Frame   degrees
    150 30

End of Keyframe Data

I don't understand the algebraic relationship between pixel coordinates in the input video frame and pixel coordinates in the output video frame, in terms of the keyframe data in this file. I understand translate, scale, and rotate operations in the abstract, as linear transformations. I don't understand, for example, if the Transform Position values are absolute or relative motions, or how they are affected by the Transform Scale values, or if they are in terms of input frame coordinates or output frame coordinates.
I realise that the actual transformation is based on per-frame values interpolated between these keyframes. I think that's not a problem for me.
What is the algebraic relationship between pixel coordinates relative to the input video frame, and pixel coordinates relative to the output frame, for a frame described by the keyframe, given the width and height of input and output, and the values in the Adobe After Effects Keyframe Data file?

I never really got that far in my math studies, but I think that whenever you're talking about 3-dimensional transformations (whether xyz, psr, ptz, rgb, or whatever), you're talking about matrices and linear algebra.  So maybe take a class on that?

Have you tried using after effects? You can get a demo, it will give you an idea of the metaphor behind it.
The position of a layer is the position of its anchor point in the comp space. The anchor point is expressed in terms of the layer space and is the point that the layer rotates around and scales from. By default the anchor point of a layer is its center. In both layer space and comp space the origin [0,0] is the top left, and increasing values move the point to the right and down. E.g. for a 1920x1080 comp / layer the point [1920,1080] is the bottom right.

Thank you for the suggestion. I have sat down with Adobe After Effects and played with the controls. Your description of the UI metaphor matches what I observed. But an "idea of" the relationship isn't precise enough to write code.

Did the rest of the answer provide enough information? Whatever you're doing sounds interesting.

This answer isn't enough for my purposes. I sat down with affine transformation matrices and did some simple matrix algebra. I think I have the equations now. I will post them once I have good Internet connectivity.


text:
position expression
Im trying to do an expression to my object. I want to make him come out from the side to center. I searched a lot but I didnt find any expression. I can do it with keyframes but I need expression only.
Please, can someone help me with expression?

Expressions work by returning a value to the property to which they are applied. So if you apply an expression to the position property and you put in the expression
[1,2]

in the expression editor, it will return the value [1,2] so that will be the position of that layer, i.e x= 1 y=2. Because the values 1 and 2 don't change, it will stay there forever.
If you have an expression on the position where the x value increases over time then the layer will move right. So for example if you put the expression
[time, thisComp.height / 2]

the layer will start at [0, 540] (if the comp is 1080 px high) and move right at the rate of 1 pixel per second. For a HD frame it will reach the right side at around 1:17:20. That might be too slow, but you can use maths to adjust it. For example to make it twenty times as fast you could multiply it by 2, like so:
[time * 20, thisComp.height / 2]

So in the expressions editor you can see the drop-down with the available objects, properties and methods. You can use these along with the pick-whip to build up the expression to do whatever you need.
You might want to start looking at Dan Ebbert's site. I can't quite believe that anyone could spend any time researching expressions and not find this site in the search results.


text:
Is there a container format in ffmpeg that supports non-monotonous timestamps?
I have recorded over-the-air digital TV broadcasts from my own antenna.  Due to reception blips, the MPEG-TS file can have corrupted packets, and thus corrupted timestamps, in the middle of a recording.  These timestamp problems cause A/V de-synchronization during transcoding, even with -async and -vsync flags.  -fflags +discardcorrupt gets rid of some of the corrupted timestamps, but not all of them.
I've poured a LOT of effort into trying to fix these recordings such that A/V de-synchronization doesn't happen.  I've developed several methods that work to varying degrees of satisfaction, but I'm still looking to develop a better way.
This is what I want to do: I want to use ffmpeg -fflags +discardcorrupt and -codec copy to copy streams that completely preserves timestamps, even non-monotonous timestamps, so that I can later develop methods to further correct the timestamps.  Essentially, I want to take advantage of +discardcorrupt, but preserve the remaining bad timestamps so I can go back later and deal with it.
So here's my question:
Is there a container format, possibly coupled with ffmpeg options, I can use where I can copy A/V streams such that non-monotonous timestamps are completely preserved, where ffmpeg doesn't try to fix/guess PTS/DTS values?

This is not directly possible. All muxers require monotonic TS. At best, a few allow non-decreasing TS. However, there may be a way to achieve this in a roundabout way. Let me check.

Have you tried the +nofillin value for -fflags? That may fix your issue.

Try this: https://stackoverflow.com/a/49556376/4675388


text:
How to make a video presentation with a video of the slideshow and a video of me speaking in the corner?
I am a teacher and I am trying to sync my slideshow presentation to a video of me speaking about the slideshow presentation. I'm trying to make it so that the presentation takes up most of the screen, and the recorded video of me speaking takes up a corner just outside of the slideshow area.
I have a Mac, so any suggestions with mac-based programs would be preferable.
Thanks

I'm going to assume you've made the slideshow in Powerpoint (if not, please provide details) - in Powerpoint you can export your slideshow as an MP4. Go to the "File" menu, select "Export", and choose MP4 as the file format. Review your output video file, and go back and adjust your slide timings as required if you need alter the speed of the presentation.
Now you have a video of your presentation, record the video of you to go along with it. I would play the first video where you can see it, while you record the second one, so you can get the timing correct for them to be in sync.
The final step is to overlay the second video in the corner of the first one. Software like Adobe Premiere Pro can do this easily, if you don't have it, you can likely download the trial version and just use that, if this is a one-off for you. Add the 2 videos to the timeline, on the Effects panel use the Motion settings to scale down the size and adjust position of the second video, and make sure it is layered on top of the first one. I suspect there are various free tools around that can overlay the two videos as well, I'm just not familiar with them - hopefully someone else can jump in with some other options here if needed.

DaVinci Resolve offers a free version which is fully capable, and available for Mac, Windows, and Linux.

Screenflow is really great for this kind of thing. It's not free ($129), and is designed for Mac. It's great for making polished screen recordings.  You can record your webcam, your mic, the computer screen/s, and any computer audio as separate tracks, which you can edit afterwards in the app. You can remove your mouse cursors afterwards, or call attention to it at certain times. I highly recommend it (just don't record to an external drive with limited space in Uncompressed mode - it eats a lot of space while recording).
You can also now use live video cameras inside Apple Keynote, and record a presentation within Keynote too.


text:
What is 1200p HD?
I'm looking to purchase a borescope, and many of them state their video quality as "1200p" HD.  Surprisingly, I've found nothing definitive as to what that means.  The closest answer I could find was this answer here on another forum which says "As far as 1200p, most commonly I think that would be interpreted as 1920x1200".
So here's the question: is it a "real" term, like "1080p", and if so, why doesn't it have a canonical reference like the Wikipedia article for 1080p?  Does it refer to any resolutions that have 1200 lines of progressive scanning, such as 1600x1200 (4:3 aspect ratio) or 1920x1200 (16:10 aspect ratio)?  If someone only says their product is 1200p, then what resolution (and thus aspect ratio) can I assume that is?

If the other products that advertise 1200p do provide a resolution, and it's the same resolution, that's a safe bet. Else, there's no standard value to fall back on.


text:
Why in ffmpeg do I have VAAPI encoders but no VAAPI decoders?
Why in ffmpeg do I have VAAPI encoders but no VAAPI decoders?  I have used VAAPI encoders successfully, but would like to use VAAPI for decoding as well (specifically, mpeg2_vaapi decoding).  I build my own ffmpeg from git master branch, so am I missing configure options or libraries for decoding?
$ ffmpeg -version
ffmpeg version N-91119-g2940af9389 Copyright (c) 2000-2018 the FFmpeg developers
built with gcc 7 (Ubuntu 7.3.0-16ubuntu3)
configuration: --prefix=/usr/local --enable-shared --enable-pic --enable-rpath --extra-ldflags='-Wl,-rpath,/usr/local/lib' --enable-libx264 --enable-libx265 --enable-libxvid --enable-libvorbis --enable-nonfree --enable-gpl --enable-zlib --enable-libmp3lame --enable-libfdk-aac --enable-libv4l2 --enable-libbluray --enable-libvpx --enable-libwebp --enable-libmfx --enable-vaapi --enable-vdpau --enable-opencl
libavutil      56. 18.102 / 56. 18.102
libavcodec     58. 19.102 / 58. 19.102
libavformat    58. 14.100 / 58. 14.100
libavdevice    58.  4.100 / 58.  4.100
libavfilter     7. 24.100 /  7. 24.100
libswscale      5.  2.100 /  5.  2.100
libswresample   3.  2.100 /  3.  2.100
libpostproc    55.  2.100 / 55.  2.100
$

$ ffmpeg -encoders 2>&1|grep _vaapi
 V..... h264_vaapi           H.264/AVC (VAAPI) (codec h264)
 V..... hevc_vaapi           H.265/HEVC (VAAPI) (codec hevc)
 V..... mjpeg_vaapi          MJPEG (VAAPI) (codec mjpeg)
 V..... mpeg2_vaapi          MPEG-2 (VAAPI) (codec mpeg2video)
 V..... vp8_vaapi            VP8 (VAAPI) (codec vp8)
 V..... vp9_vaapi            VP9 (VAAPI) (codec vp9)
$

$ ffmpeg -decoders 2>&1|grep _vaapi
$

Don't have access to a linux box now, but it should be ffmpeg -hwaccel vaapi -i file ...

This is what I am using, but Is there a way to verify the decoder is actually using VAAPI?  There is no indication of it in the ffmpeg output (that I've spotted).  And when I also use VAAPI encoding, Linux is reporting 50% CPU usage on the ffmpeg process (although this is down from 200% when using non-VAAPI encoding).  So what I'm saying is I'm confident the encoder is working, but I see no indication the decoder is using VAAPI.

See the stream mapping lines

Ok.  This is what I see: Stream #0:0 -> #0:0 (mpeg2video (native) -> mpeg2video (mpeg2_vaapi)).  mpeg2video (native) leads me to believe it's not using VAAPI for decoding.  Command line is ffmpeg -hwaccel_device /dev/dri/renderD128 -hwaccel vaapi -hwaccel_output_format vaapi -i video.ts -an -c:v mpeg2_vaapi -f null /dev/null.


text:
FFMPEG frame extraction
I have couple of video files with sudden transition from black frame to blue frame, both frames have burned-in frame numbers, I would like to use ffmpeg to define the timestamp of this transition in order to automate the cutting of these files. Is there a possibility to do that. I guess I can either do it with some form of scene detection or by using OCR tool to check the frame number of the current frame and then extract the timestamp.


text:
Getting football(soccer) videos without channel name on the top or any sort of layout
So i am trying to edit a montage for football so i trying to get some videoa to work with but all I can find are videos with layouts which doesn't look good in the video and I think with layouts it may get me in some trouble beacuse of the copyrights so i would appreciate it if anyone could tell me how to find videos withou channel names or stuff like that.

What you are looking for, is called "feed".

Finding sport events video without any copyrights attached will be a difficult task. (Like there are none).
So, actually, you cannot (as in you are not allowed to) make your own sport event video by using copyrighted videos and either finding them without marks or removing these marks.


text:
Extract file thumbnail from mp4 file
I'm currently converting a few mp4 file to mkv. In the process they lose their file thumbnails and I wanted to keep them. So I'm searching for a way to extract the custom thumbnails from the mp4 files before converting them. To clarify the thumbnails are not scenes from the mp4 but custom made ones that were copied into the mp4.


text:
broacast tv specs.
can any one help me about how can i deliver this specs for a broadcast tv channel ? :
im using fcpx and compressor 4. do i need any other app or can i manage it with those ?
which specs i do on fcp and which ones i do on compressor?
File format - IMX/D10
WRAPPER - MXF OP-1A
MPEG-2 GOP stucture - I-FRAME
Chroma Sampling - 4:2:2
Frame Rate - 25
Frame Size - 720 x 576
Audio Levels - -10dBFS (ref)
File Naming Structure - NAME_DURATION
Aspect Ratio - 16x9
Field order - Upper Field - (WHAT IS THIS ?)
AUDIO CHANNELS ( 1 AND 2) - 2 CHANNELS
Sampling Rate - 48000Hz
Sample Format - 16/24 bit
Sory the noobness.


text:
Framerate Timelapse
I'm doing a time-lapse film project about a six-month period. Now I write a script to process the thousands of photos. I use ffmpeg. The paths to the photos are in the list.tmp file and i'm using the concat option.

ffmpeg -r 400 -f concat -safe 0 -i list.tmp -video_size hd1080 -vcodec libx264 -preset medium -crf 23 timelapse.mkv

With this command I get a time lapse with 400fps.
If I now set the frame rate of the output video to 25fps, the film still looks the same subjective, but is a lot smaller (15mb instead of 60mb).

ffmpeg -r 400 -f concat -safe 0 -i list.tmp -r 25 -video_size hd1080 -vcodec libx264 -preset medium -crf 23 timelapse.mkv

ffmpeg also reports that most images were droped.

frame= 201 fps=3.7 q=-1.0 Lsize= 15647kB time=00:00:07.92 bitrate=16181.8kbits/s dup=0 drop=2989 speed=0.148x

Is it so, that I don't see the difference between 25fps and 400fps because people perceive 25fps as a smooth video?
Sorry for my English.

Even though the first output is 400 fps. Normal graphics adapters or displays can't show 400 fps. Common refresh rates are 60 to 75 Hz, so the max number of frames per second that could have been displayed.
With a timelapse edit, the material naturally features higher stepping of scene changes between consecutive frames, so there's greater leeway to drop output framerate without a significant subjective difference.
ffmpeg also reports that most images were droped.
The input framerate is 400 and output is 25, so ffmpeg will select 25 out of every 400 input frames and drop the rest, in your command.
because people perceive 25fps as a smooth video
I think a century of cinema and video at similar rates should be confirmation.

So that means, if the time-lapse video has a higher frame rate than the maximum output frequency of my TV / screen, it is of no use. Right?
If my TV has 100Hz, the ffmpeg command would look like this:
ffmpeg -r 400 -f concat -safe 0 -i list.tmp -r 100 -video_size hd1080 -vcodec libx264 -preset medium -crf 23 timelapse.mkv
And if I want to use all the images I've taken:
ffmpeg -r 100 -f concat -safe 0 -i list.tmp -r 100 -video_size hd1080 -vcodec libx264 -preset medium -crf 23 timelapse.mkv

That's right...


text:
Which is a better choice for shooting classroom teaching, a DSLR or a shoulder-mounted video camera**?
I want to shoot open class videos that require  teacher's face and blackboard writing to be clear.
Which is a better choice, a DSLR or a shoulder-mounted video camera?

A good quality phone camera might fit the bill too.

Shoulder Mounted video camera?
I think that's a little over the top, A decent 1080p or even 4k video camera (Canon, Sony, Panasonic) would give you a decent image, your main thing would be audio, you want something that would give you decent audio, a camera with a XLR input and a shotgun mic to start with and then maybe mic yourself up using a wireless kit.
Obvisouly this would all depend on budgets, time, amount of editing you want to do, maybe if you want to live stream.
Other things like decent tripod, recording media, etc will affect your budget.

The other problem with using a DSLR is that you have a 30 minute recording limit per video.  You don't have this with a normal video camera, assuming you have space on whatever medium you are recording to.

A lot of the newer DSLR's will record over 30mins but will create a new video file.

@AdamMannPro, that's helpful information, I've been looking at some SLRs for video lately, but I'll have to take a closer look-- that would work a lot better for me!


text:
How to change menu bar color in premiere pro cc 2018 in windows 10?
I want to change the menu color in premiere pro cc 2018 from white to black so that it matches the inner interface.

The answer to your question lies here. You may not be able to change the appearance to the point where is also affects scroll bars, title bars and menus that aren't inside panels. I have highlighted the related section of text in that link below:

Brighten or darken the interface You can lower the brightness, as when working in a darkened editing suite or when making color
  corrections. Changing the brightness affects panels, windows, and
  dialog boxes but does not affect scroll bars, title bars, and menus
  that aren’t inside panels. In addition, the change doesn’t affect the
  application background on Windows.
Choose Edit > Preferences > Appearance (Windows) or Premiere Pro >
  Preferences > Appearance (Mac OS). Drag the User Interface Brightness
  slider to the left or right. Click Default to restore the default
  brightness level.


text:
picking a frame and an overlapping audio from a video
I know how to extract frames and audio from a video using ffmpeg.
But what I want to is, to pick a random frame in that video, and then picking a random 1 second audio clip that overlaps in time with the sampled frame.
As of now I'm doing this by preprocessing the videos for frames and audio, but that is consuming a lot of disk-space.
The way I'm doing it now is: I extract the frames and audio before hand I'm finding the number of frames and picking one from them randomly. By finding the name of that frame, which gives me it's number, say 100th out of 3000 frames, I'm picking audio which overlaps with it.
So is there a easier way of achieving this?

The inverse way of doing this is faster.
Get file duration
ffprobe in.mp4 -show_entries format=duration -of compact=p=0:nk=1 -v 0

This will print the duration in fractional seconds.
Pick a random value between (0, duration - 1)
Run
ffmpeg -ss value -t 1 -i in.mp4 -map 0:a -c:a copy audio.m4a -vf thumbnail -vframes 1 img.png

The thumbnail filter will pick one frame out of the 1 second of video provided to it.

Thanks. I've used ffmpeg and sed to get duration and fps and thus made a csv sheet and was generating random integer to pick the frame, but this is much better.

But the audio.m4a is not 1 second length. I'm not able to ascertain how long it will be. It is a bit random, sometimes going as long as 30 seconds.
I've tried with
-to value+1, but that gave me error.
Finally something like this
ffmpeg -i in.mp4 -ss 2 -to 3  -map 0:a -c:a copy audio.m4a -vf thumbnail -vframes 1 img.png
is giving me 1 sec audio, but the frame I get with this code is different to the one where I give -ss in the input, besides -ss in input does the fast seek.
So is there a way to use fast seek -ss and still get 1 sec audio.

Share full log of my command run.

log image. https://imgur.com/a/U0ylzsu

I'll have to look into this, but for now, you can drop -c:a copy and it should be accurate

Thanks. I understand that without the -c:a copy it has to re-encode. But this is more accurate than with -ss in the output. This is giving exactly one second audio.


text:
How should I interpret the results from Netflix VMAF
I've been encoding some clips and then analyzing them with the VMAF tool from Netflix, but I don't know how to understand the results.
This is the overall mean section of one of my tests.
VMAF_feature_adm2_score:0.982934
VMAF_feature_motion2_score:2.262897
VMAF_feature_vif_scale0_score:0.727423
VMAF_feature_vif_scale1_score:0.946992
VMAF_feature_vif_scale2_score:0.975502
VMAF_feature_vif_scale3_score:0.986295
VMAF_score:94.240835

The numbers don’t mean anything. They only have value when compared to other values. You can compare the results between two encodes of the same file and determine which encode produced better results.

How do I decide what a good threshold is? Like, If I make encodes with varying bitrates, I know more is better, but how much is enough?

That’s subjective. You get to decide what is “good enough” for your case.

If you wanted to encode something so that your average non-expert wouldn't be able to tell the difference from the original, what numbers would you target? ;)

Like @SlimSCSI said, the scores are relative to the source material. There is no specific number to shoot for. If you are tweaking the encoder on a case by case basis, you can compare different settings by score. If you are setting up a "factory" workflow, run several test files through to find the better settings. If you are doing a QC workflow, you will have to experiment with your threshold for your specific set up.

I found on the mux.com blog that a difference of 6 is barely noticeable. "A 6-point difference is VMAF is considered a Just-Noticeable-Difference."

In general, the higher the VMAF score, the higher the quality of the video will be perceived by the viewer. Lower VIF component and ADM scores indicate problems caused by intra-frame compression artifacts. A lower motion score indicates problems caused by inter-frame compression artifacts.

What scale is VMAF_feature_motion2_score on? I can tell the others are from 0-1, but not what the maximum of VMAF_feature_motion2_score is.

I don't know what the scale is. It doesn't seem to be described in the blog post, but you should be able to determine it from the source code.

I found it in the README, it varies from 0 to 20.

The VMAF models are actually trained by humans who rated the quality on a 1-5 point scale, watching the movie either on an 1080p screen from 3x screen height away, or on a 4k screen from 1.5x screen height away. This rating is mapped to VMAF scores 0, 20, 40, 60, and 80, while 100 is when they compare the source video to itself. Your score of 94.240835 is somewhere between what humans rated the highest and lossless.
The VIF scores refer to Visual Information Fidelity but I don't know what the scale numbers mean there. Don't know about adm2 or motion2 scores.


text:
Live Video object tracking
Is there any (Open Source or Low Cost) software that can track x,y position of objects in live video?
An example would be tracking the position of a player in a soccer match.

OpenCV is a good repository of computer vision resources. An example of how to select and track a region of interest is given here: https://docs.opencv.org/3.4.0/d2/d0a/tutorial_introduction_to_tracker.html

Also see an example blog post here: https://www.learnopencv.com/object-tracking-using-opencv-cpp-python/

More state of the art research results and code in visual object tracking are maintained at the following website: http://www.votchallenge.net/vot2017/trackers.html


text:
Kdenlive: MP4 file icon
I am using kdenlive to create mp4 files.
How do I indicate which image (or which point on the timeline) that will appear as the mp4 file icon when I display the mp4 file in Microsoft File Explorer?

Use
ffmpeg -i input.mp4 -i input.png -map 0 -map 1 -c copy -disposition:v:1 attached_pic output.mp4

-map 0 and -map 1 will map all streams from both input files (numbered as 0 and 1) into the output file,
-c copy will directly copy all streams into the output file (i.e. without transcoding),
-disposition:v:1 attached_pic will tag your picture (the videostream #1) as as the embedded cover / thumbnail.

This question has been answered in a previous post here.
The best way to do it is by using ffmpeg.
If you save the frame of video you want as the thumbnail in .png format, you can use the following command to apply the thumbnail to your file in ffmpeg:
ffmpeg -i INPUT.mp4 -i IMAGE.png -acodec copy -vcodec copy -map 0 -map 1:0 OUTPUT.mp4

Sorry, did not work. After running the ffmpeg command, the video appears as a large traffic cone (this is because I am using VLC media player as my default video viewing app). Any other suggestions?


text:
How long does it take to write a script
I am doing a project in my summer holidays, where I want to produce 2 - 3 youtube clips where people should learn something.
I need volunteers for this, writing the scripts, searching the content, etc. and some for doing the design stuff. The video should be in the style of "In a nutshell", so I'm producing it with the help of Illustrator and AfterEffects.
My question is, how much time is needed to write a script for a 3 minute video, when 2 people work together. In best case, the volunteers writing the script know something about that topic already and don't have to do that much research.
The other question is, how long does it take to make all the graphics and design the video itself, when 3 people are working togehter.
I need to know that in order to find out how much money I should give them. Although it's voluntary, I want to give them something and I really don't know how much I should give them.
PS: I have 1000 € for the whole production and about 10 people should help me.

You are thinking about this the wrong way.  First, you already have an established budget and the number of people you want as collaborators.  You can say "I am looking to work with 10 people to write 2-3 minute scripted educational videos.  You pick the topic and send me a super-rough outline.  If I like it, you write the script, and I'll produce the video content using Adobe Illustrator and After Effects.  In addition to receiving writing credit, I'll pay you 100 € if I accept your script for production."  This way, the process is self-selecting.  Whether it takes them 2-3 minutes or 2-3 days to write the script, you'll get the scripts you want within the budget you have and nobody should be disappointed because all the conditions are stated up-front.


text:
Video from image with same image as background
I 'd like to create a 16/9 video from an image that is not exactly 16/9;
I can add black lines aside, to fit 16/9, but I'd like to create a background with same image, with a boxblur applied; the result will be the original image, fit at 16/9, with the same image, blurry, visible instead of blank side lines.
I'm trying to do with split filter, something similar to this:
[0:v]split=2[v0i][v1i];\
[v0i]scale=iw*3:ih*3,boxblur=5[v0f];\
[v1i][v0f]overlay=(W-w/2):(H-h)/2[v0];\
[v0]\
scale=iw*min(640/iw\,360/ih):ih*min(640/iw\,360/ih),
pad=640:360:(640-iw)/2:(360-ih)/2\
[v00];\

but I think I miss something ... can someone help me? thanks ...

Use
[0:v]split=2[vblur][vmain];\
[vblur]scale=640:360:force_original_aspect_ratio=increase,boxblur=5,crop=640:360[vblurred];\
[vmain]scale=640:360:force_original_aspect_ratio=decrease[vmain];\
[vblurred][vmain]overlay=(W-w)/2:(H-h)/2[out]

I found another solution but yours is better in result, and much more beautiful! Thanks!


text:
What is best setting of Nikon D3300 camera to shoot daytime video from a moving car?
I want to shoot outdoor road videos looking through windshield of car in broad day around noon time moving at about 25 MPH. I want to document what the road and surrounding areas look like for web display which means videos would be downscaled. What is the recommended settings like mode, focal length, shutter, aperture fstop etc?

Shooting through a windshield is a very dicey proposition.  There is an amazing amount of glare that you don't see when you are in the car, but which you will see when you look at your camera footage.  A far better solution would be to mount a GoPro (or some other small, disposable camera) on the exterior.
Nevertheless, if you insist on using a DSLR, then only with a wide-angle lens will you get "the surrounding areas" to give context to your road.  You can think of angle of view this way: if you have a 90 degree field of view, then you have (in the left half of the frame) something that sees the range from 45 degrees left to the center of the road and (in the right half of the frame) something that sees the range from 45 degrees right to the center of the frame.  45 degrees to one side or another is not very wide-angle (compared to turning your head and looking sideways), but wide enough to show some very limited context.  To achieve that with a DX format, you need a 10 or 11mm lens.
For shutter speed, you don't want too much blur.  25 miles per hour is 36.7 feet per second.  Since you are shooting at max 45 degrees, 36.7 * cos(45) = 26 feet per second.  If you shoot at 60 fps with a 180 degree shutter (1/120th of a second), then the largest blur on the sides will be 26/60 = 2.5 inches.  2.5" may be an acceptable amount of blur for a building-sized object that's on the way out of the frame.  If you look closer to the center of the frame, say 22.5 degrees off center, the blur will be 36.7 * cos(67.5) = 1.4 inches.
Wide-angle lenses tend to have deep depths of field, so you can safely use an aperture that gives you the right exposure (but check your depth-of-field charts).
But a GoPro will give you a better result for many reasons, not least because they have built-in very wide-angle lenses.


text:
Seamless transitions
In this GoPro HERO3 ad, they use what looks like almost seamless transitions.
To me it looks too smooth to be just some hard transitions. Can anyone tell me how to mimic this effect? I use After Effects for video editing.

Playing the video at 1/4 speed on YouTube, there's no discernible transition other than a hard cut.  If there were some sort of cross-fade or dip-to-black or luma fade, it should be visible at that speed.  And it's not.
I suspect that part of what makes the hard cut transition successful in that video is that the motion and the balance of the center of interest in the "from" clip leads the eye perfectly to the center of interest in the "to" clip.  Hard transitions look harsh when the eye must find and acquire a subject in a different part of the frame across the cut.  If the eye is already properly aimed and focused, the hard cut just looks like a seamless transition.


text:
Keeping text centered during a transition
Beginner to After Effects here. I'm trying to do a basic transition: text starts out at 50% of its size, centered to the composition. After a few seconds I want the text to increase to 150% while staying in the center. But anytime I do this the text shifts. Can anyone help?

Although you can reposition the anchor point with the Pan Behind tool (Y),

an easier way to center it is in the menu.
Layer->Transform->Center Anchor Point in Layer Content.
I agree with the other posts here: It's important to set the correct alignment and placing of a layer before you keyframe anything.

In addition to rbd-dc's answer, you can centre your text in the composition by going to the 'Align' menu and pressing both the horizontal and vertical alignment buttons.
Note, too, that the anchor point for text never starts in the middle. Press [Y] to edit the anchor point (Pan Behind), select the text object and you can move the anchor point yourself so that it's in the centre of the text (it should snap to the middle).
Please bear in mind, though, that you'll need to do ALL of this before you start dropping in your scale keyframes, otherwise you'll notice that the word starts moving all over the place (you can amend things with already active keyframes but it's a bit of a faff so it's always a good idea to get your objects and anchor points set up where you want them before you begin animating).

NB: You'll notice that, in my images, I've messed up a bit - I centred the anchor point AFTER aligning the text, so I had to align it again. The numbers listed here are the correct way to do this. Technically, you don't need to centre the anchor point first but I find it's easier to control when you're wanting to keep things central. Skip this step if you don't need it.

After you create your text, go to the 'Paragraph' panel and make sure the centered icon selected, you should then see that the anchor point shows up in the middle of the text. Then look at the x position of your text to make sure it's in the center of the comp (if its 1080p, that would be 960) Here's a screenshot that may help:


text:
Davinci Resolve 15 Beta workflow bar covering up color settings
I have Davinci Resolve 15 Public Beta. The bar on the bottom that enables you to switch from editing to color grading is covering up the settings for RGB, and I cannot drag the window up to make the settings visible. Is this a bug? I have looked through just about every Davinci Resolve tutorial and nobody has this problem.
Aside from uninstalling and reinstalling Resolve, is there a way to make the settings visible?

Does your display resolution meet the minimum system requirements?  For mac, your user interface monitor needs to be at least 1440x900.  For PC, the minimum is 1920x1200, according to this document: http://documents.blackmagicdesign.com/DaVinciResolve/20180407-79c607/DaVinci_Resolve_15_Configuration_Guide.pdf

I see. My monitor is 1360x768. (I'm using a workstation laptop.) I won't be getting a different computer anytime soon, but increasing my external monitor's resolution seems to fix the issue. Thanks!


text:
Is failure free streaming possible in todays world?
Is streaming video from one PC to a physical second PC with recording it there, without getting any frame drops, artefacts, basicly everything what the source video don't have, in todays world doable or is that even in the highend industry (that do that on daily basis) a well known thing that they have to control/manage?

Why all the down votes? Seems a valid, on-topic question to me.

Streaming video between internally networked systems has become the standard in the Video Production / Post Production professional environment.
There is a lot to read about this but the answer to your question is yes, it is possible in today's world. In fact, it's done every day in the broadcast industry. Everything changed since we've had the ability to stream SDI over IP, and nowadays, production companies with a good enough infrastructure can transmit and receive multiple streams of high quality video at very low latency.
It's a professional set-up that achieves this with every aspect thought through. Everything from your storage solution, to your LAN switch to your workstation (with a lot of technical knowhow in between).
Media in these environments are hosted by shared media storage systems which are literally built for purpose though, unlike one PC sharing/streaming media to another. So you may first want to look into workflows used by the broadcast industry and scale it down to something that's possible at home for a reasonable cost.

"doable" absolutely. But it requires you control every aspect of the environment. And depending on your definition of "failure free" requires hardened hardware/software and infrastructure. Otherwise its best effort.
TLDR. Yes, but it will cost you.


text:
why exposing with 18% gray card does not give IRE near 40
I am trying to understand how to get perfect exposure using gray card.
With my Sony a6500 using ITU709 gamma, I locked exposure by doing spot metering on the gray card.
When importing in final cut pro the waveform monitor show IRE value near 25 for the gray card.
Shouldn't it show between 40 and 43 for 18% reflectance mid gray?

I was stupid and using spot focusing and not spot metering.
So the metering was wrong even if the focus was right in the middle of the card.
I repeated the test and it now give me 40 IRE as expected.


text:
Advice for Adobe CC shared storage solutions
We're considering building an Adobe video production environment and we need a shared storage solution. We have had impressive presentations from EditShare and OpenDrives/CatDV.  Our production environment includes 4 video edit suites and 3 motion graphics workstations in a mixed PC/Mac environment. I'd be interested in hearing any first hand experience with latency/speed, and ease of user interface.


text:
Clips not sitting on top of each other in FCPX
This may sound odd but I'll try and describe it properly.
I have my main video in the timelime all ok, I then drag in a picture on top of that, or possible a compound clip of multiple pictures, still all ok.
I then drop in another image on top of that compound clip/first image (possible an element like a shape).
Sometimes when I drop something in rather than the clip sitting on top of the clips underneath it like normal it drops into the same line as the clip underneath and is not visible, I try removing the last added object and re-adding but it doesn't work, usually the only way round this I've found is re-adding the clip underneath that the above clip is falling "into" if that makes sense?
All clips (barring the last one thats dropping into the clip below it) are visible in the video fine, am I accidentally setting a property on that clip item with a random accidental key press somehow?

Is it the same when you use Q key to connect the clip to the storyline?

I wasn't aware of doing the Q thing, I shall have to play around and see if that has something to do with it, could be that I'm accidentally hitting Q when having something selected at some point without realising it...

Sounds weird. Maybe try deleting the FCPX preferences:
Hold Command Option and start FCPX. A window will pop up and ask you if you want to delete the preferences.

This happens a lot to me. I'm A quick/temporary fix is dragging a title clip over the one with the problem and disabling it. New clips should sit on top of that.

nice workaround thanks!

I find that if I set up a new event and copy all the contents from the video that's giving problems into the new eventide problem is solved. It's an annoying thing but it works every time.


text:
Is there a way to basically start a counter from a given frame in ffmpeg?
I want to perform a simple calculation to move an image along the video with given frames as the length of the animation:
overlay=x='( 1 * INDEX)':y='(1 * INDEX)':enable='between(t,438/25,450/25)'

Obviously INDEX doesn't exist, but for the start frame of 438, I want index to equal 0, for the frame 439 I want INDEX to equal 1, and so on and so forth.
The goal is to have the image move one pixel for every frame after 438 and hide it at frame 450

Just subtract the first frame index from the expression:
overlay=x='n-438':y='n-438':enable='between(t,438/25,450/25)'


text:
Jetson Xavier and 16 12MP cameras
I recently saw the Jetson Xavier from NVIDIA (https://developer.nvidia.com/embedded/jetson-xavier-faq).
I need to connect 16 12MP cameras like this one: https://www.baumer.com/it/en/product-overview/image-processing-identification/industrial-cameras/lx-series/10-gige-interface/vlxt-123c-i/p/38561.
I have 2 questions:
1) can the interface provided manage at least 8 of them? These are the specs:
- 16x CSI-2 Lanes (40 Gbps in D-PHY V1.2 or 109 Gbps in CPHY v1.1)
- 8x SLVS-EC lanes (up to 18.4 Gbps)
2) Xavier boasts (2x) 4Kp60 | HEVC video decoding. 4k is too little for 12MP...can I split the 8 cameras video stream in 2, and encode the upper and lower part of the images in 2 separate videos, leveraging the HW encoder? Can it encode 16 video streams (2x8) at the same time?
Thank you!

Were you able to pull in the streams of 16 cameras on Xavier? What was the max number of streams you could acheive?

We did not try as we decided for a non-embedded solution.


text:
Getting rid of a superimposed image?
Is it possibile to cancel out an image superimposed on an another one if we know the overlaid image's alpha channel and pixel values?

It sounds like you're tying to remove a watermark from a copyrighted image.  The best way to do that is to pay the copyright owner for permission to use their image.


text:
add Audio to two Video in below command
here i have one command that is working properly but i want to add audio to second and third video not only second video.So, how to proceed?
fmpeg -y -i intro-17may.mp4 -i video.mp4 -i outro.mp4 -i energy-song.mp3 -i vcs-watermark-video.png -filter_complex "[0:v]drawtext=fontfile=FutuMd.ttf: text='Hello World': x=300: y=450: fontsize=40: fontcolor=white: enable='between(t,2,5)',fade=t=out:st=5:d=1,setpts=PTS-STARTPTS[v0]; \
[1:v][4]overlay=W-w-5:H-h-5,fade=t=in:st=0:d=1,fade=t=out:st=63:d=1,setpts=PTS-STARTPTS[v1]; \
[2:v]fade=t=in:st=0:d=1,setpts=PTS-STARTPTS[v2]; \
[3:a]volume=enable='between(t,34,36)':volume=-8dB,volume=enable='between(t,36,42)':volume=-10dB,volume=enable='between(t,47,51)':volume=-8dB,volume=enable='between(t,51,58)':volume=-10dB[3a];[1:a][3a]amix=inputs=2:duration=shortest[maina]; \
[v0][0][v1][maina][v2][2]concat=n=3:v=1:a=1[outv][outa]" -vcodec libx264 -c:a aac -ac 2 -map "[outv]" -map "[outa]" c4.mp4

Use
ffmpeg -y -i intro-17may.mp4 -i video.mp4 -i outro.mp4 -i energy-song.mp3 -i vcs-watermark-video.png -filter_complex "[0:v]drawtext=fontfile=FutuMd.ttf: text='Hello World': x=300: y=450: fontsize=40: fontcolor=white: enable='between(t,2,5)',fade=t=out:st=5:d=1,setpts=PTS-STARTPTS[v0]; \
[1:v][4]overlay=W-w-5:H-h-5,fade=t=in:st=0:d=1,fade=t=out:st=63:d=1,setpts=PTS-STARTPTS[v1]; \
[2:v]fade=t=in:st=0:d=1,setpts=PTS-STARTPTS[v2]; \
[3:a]volume=enable='between(t,34,36)':volume=-8dB,volume=enable='between(t,36,42)':volume=-10dB,volume=enable='between(t,47,51)':volume=-8dB,volume=enable='between(t,51,58)':volume=-10dB,adelay=6000|6000[3a]; \
[v0][0][v1][1:a][v2][2]concat=n=3:v=1:a=1[outv][outa];[outa][3a]amix=inputs=2:duration=shortest[outa]" -vcodec libx264 -c:a aac -ac 2 -map "[outv]" -map "[outa]" c4.mp4

The BG music is delayed by 6000 ms (duration of intro) and then mixed with the audio after concat.

i tried but audio is not added in outro why?

How long is the BG music?

Audio music is 1:04 long and outro video has audio of 6 seconds long.

Your BG music isn't long enough. Your main video is at least 1:04 long according to the fade filters applied.


text:
Sample K representative frames within a video
I have an image-based processing module that takes photos for some computer vision processing. I have many videos, but I need to sample representative frames as its inputs, preferably those frames with higher attention.
What are some good and effective algorithms or approaches to take K sample frames in a video? Interesting feature is that usually camera doesn't move much in successive frames with higher attention. So basically we have more stable scenes when a person is focusing on something important. Is there any ways to take this into account for our samlping?

ffmpeg has a thumbnail filter whose purpose is to "Select the most representative frame in a given sequence of consecutive frames". What it does is calculate the avg histogram of an interval of frames and select the frame whose histogram is nearest to the avg. one.

@Gyan Do you have a reference for how thumbnail really work? Those histogram and such?


text:
How to add quiz to video in kaltura kmc editor on vpaas?
I looked at tutorials, but I don't see the quiz button in the toolbar on the left, only "advertisement" button.

You don't add quiz to video.
Instead, you create a video quiz by selecting Add New, then Video Quiz
The Kaltura knowledge pages on this give you a full tutorial, and should be your first stop for this sort of thing.

Is this available with the free account?


text:
Is removing an audio segment on YouTube a lossless operation?
YouTube marked part of a video I uploaded as containing copyrighted audio. When I remove that audio segment on the YouTube website, does YouTube re-encode the audio of my whole video? Or is the removal or substitution of audio on YouTube a lossless operation?
It seems it is lossy, as it takes quite a while for it process the audio removal. There's really no reason it should be lossy.


text:
Why doesn't my s-log3 footage reach 100% value?
Why does my footage captured with s-log3 gamma curve on a Sony FS5 seems to clip before 100% if I see it on a waveform?

A log curve is a mathematical transfer function.  SONY have defined a LOG curve (as many vendors do) that imagines future/alternative sensors having larger electron well capacity (higher clipping) and lower noise (lower clipping) than your current silicon design supports. In other words, you are seeing where your sensor's designs fits into an idealized LOG space.  You are not seeing a LOG curve that is limited by only what your particular sensor can achieve at the present moment.

Isn't that a waste of bits of data? Can I do something about it?

Panasonic's VLOG-L is a much larger waste of bits of data ;-)  But to answer your question: not unless and until SONY offers a RAW codec for your particular camera.


text:
Tips for shooting professional POV footage
I'm working on a video for a client and they are wanting to tell a story in video shot entirely in POV.
My initial thoughts were GoPro but i think it doesn't give the same quality as a DSLR. I'm thinking about using a helmet mount what are your thoughts on this?
Is there anything i need to consider when filming POV footage for example
Which lens should i use for POV? (i have a canon mark 5d III)
Is there a particular camera set up or filming techniques should i use to get the most of the POV footage?
How should i instruct my actors who will be wearing the camera?
Or is it just as simple as mounting a camera to your head?

Have you considered how you're going to edit it? If you're shooting all POV, then the usual continuity editing rules won't apply.

Yes i was planning on fast turning the camera in and out of each shot to give that motion blur transition between shots. but i'm open to advice as i havent done it before

Have you done a test? You could do a test with a phone or whatever to see how it goes. I'd imagine that you'd want to choreograph the actors fairly well to give you good dynamic movement to obviate the need for cuts, because I reckon that too many whip pans would sart to annoy your audience. Here's a high bar to aim for: https://youtu.be/OJEEVtqXdK8

This is great advice thanks shockingly i havent seen goodfellas yet. Only issue i might have is that some of the filming will be at a live football game so i might not have complete control over the subjects/people in shot the idea is to walk with fans and then head up to hospitality. i suppose in many ways similar to the example you gave but i think i'll struggle to do a long take but this has certainly given me something to think about

Getting some extras to walk in front of the camera for cuts might help. That's used a lot, basically you can sneak a dissolve/wipe in when someone in dark clothes walks past close to the camera. I'm interested to see the result now.

I wouldn't mount a camera to your head - that might result in a) really nausea-inducingly wobbly footage that's much higher than the average eye-height and b) a sore neck. Instead, I'd go for a shoulder rig (something like this: http://amzn.eu/ixifFeM - DISCLAIMER: I haven't got one of these or used this model so this is not an endorsement, just an example). I've shot a POV film before and this was absolutely the best way we found to do it and gave great results (make sure your operator is of average height, though, otherwise you'll be looking up/down at the scene, unless, of course, that's the look you're going for - don't mean to be mean, just something to consider).
You'll get the camera to eye-height and will have much more stability and the ability to capture some excellent shots without having to stretch up with a gimbal or whatever.
The best thing about this is that you can use whatever body/lens combo you'd like (within reason :P).
Remember, though, that humans do have selective focus so you'll need a focus puller and some way for them to operate.

Oh, one other thing - don't get the actors to operate the camera. If they have speaking parts, have them stand behind or off to the side of the camera to deliver their lines.

Also, use a wide lens–on a 5DIII, a 20mm or thereabouts will give you more stable looking shots, and a better approximation of POV.

Thanks for this very useful. Quick question how will a shoulder rig work if i need to interact with people whilst using it. For example if i walk into a room and need to shake someones hand etc

If you're performing actions, you basically have the actor sort of reach around the operator or stand in front of the operator and shoot on a physically longer lens, then cheat the shot a little bit so that you're not seeing too much of the POV character's hand/arm. You also need to be creative with when you cut so that you can get the next POV character in place before cutting to their POV with the camera positioned so that you can see them typing or whatever.

(For this example your 1 would be POV of Character A showing Char B sitting down at the desk then you cut to POV of Char B already sat down with hands cheated into the shot.)

I'd script so that interactions like that are minimal - watch Peep Show for more tips (though they take creative liberties with the POV style, it's absolutely worth checking out to see how they set things up). https://www.youtube.com/watch?v=5XZCYE4k2wU

I'm working on a video for a client and they are wanting to tell a story in video shot entirely in POV. My initial thoughts were GoPro but i think it doesn't give the same quality as a DSLR. I'm thinking about using a helmet mount what are your thoughts on this?

Use a lightweight 360° Camera. You can edit the footage to provide a normal (non-360°) video from multiple angles and pan smoothly sideways or up and down. Stabilization isn't so much of a problem because you have the edges and somewhere to pull into your shot. You can jump (instead of smooth pan) too, of course.
If you have several skiers or skateboarders you'll have more footage than you know what to do with. You'll have all the angles covered and always get the shot. Read the reviews for specific suggestions to meet your budget and level of quality desired. A motorcycle helmet will accept a heavier camera comfortably without worries about losing your hat.


text:
How do you do the vlog style cuts? Im new and dont know the name of the effect.
So, im new to video editing, im about to start vlogging. I notice on vlogs theres an effect, its like some one talking, sitting in a chair, seems like when they switch points when theyre talking, seems like a new clip comes on, even tho its them in the same spot? Does that make sense? My friend told me it was called cuts, but ive been searching and that brings me back nothing.

You need to give us an example, it's impossible to tell what you mean.

Does this make sense....No, not really, do you have an example? there are many many many....sooo many YouTube videos and websites on "How to Vlog / Blog" I would suggest starting with some of these and learning from them to build your own style. as for effects, etc there are again many YouTube videos, plugins, both simple and advanced. without knowing exactly what you are looking for it is such a broad question.

Straight cut is a change of shot without transition effect. Jump cut is a straight cut between two very similar shots, which would be perceived as a single shot if not for a slight change in position or lightning.
Professionals used to consider jump cuts a sign of an amateur, unacceptable for movies and broadcast TV. In the 1960s the French New Wave directors broke a lot of movie rules, including the "no jump cuts" rule. Nowadays you can see them in most vlogs, although the professionals still try to avoid them by using cutaway, which usually is sourced from B-roll.

My impression of such cuts common in vlogs is that they don't show amateur videography as much as they show amateur performance. I wonder why these vloggers can't seem to deliver their lines more than 8 seconds at a time. I personally can't stand this particular habit, which is why I watch almost no vlogs.

@DigiVisionMedia Would you rather prefer a morph cut like this: https://metro.co.uk/2018/12/13/viewers-baffled-child-appears-teleport-tv-interview-8244024/ ;-) At least a jump cut clearly implies that something was cut out, while morph cuts or even traditional cutaways do not telegraph this message. But I agree, style-wise jump cuts are a pain to see, especially if they are frequent.

Well, yes, I prefer it, but if you are a news outlet, you better be careful about the impression you give. If a cut is not obvious, it can give the impression that two sentences were said in succession. In text, such a quote would never be acceptable without the ellipses (...) between them.

Just to add on to what Rusty Core has already said in their excellent answer...
With vloggers there's a good chance that it's not a different clip that 'comes on'; it's the same take but the vlogger/editor has chopped out some content, which results in the jump cut (usually it's a pause or they've said something wrong or they just want to remove something that they have said). This is easier than constantly stopping and starting the recording every time you pause or make a mistake - you carry on shooting and then just trim down the take in the edit.
Of course, that's not a hard and fast rule and you will see times when there are more than one take - especially if the vlogger is making an addendum/amendment to something that they previously said.
The most important thing to remember with vlogging is that it's a very open and free-spirited form of content creation. There are almost no rules and doing things your way is one of the defining traits of vlogging.
You can find a load of great resources online to help you get started in editing, just search for 'Editing for beginners' on the search engine of your choice and you should find something - or just keep asking on here! Good luck!

"The most important thing to remember with vlogging is that it's a very open and free-spirited form of content creation. There are almost no rules and doing things your way is one of the defining traits of vlogging." Translation: it's okay to do like an amateur. Great point, however. Different art forms have different standards.

@DigiVisionMedia Have you watched Casey Neistat's vlogs? They are jumpy, the camera often goes out of focus, yet they are very stylish in their own way to the point that many vloggers try to emulate his style. This is a testament to something people recognize and like.


text:
codec/container with additional reconstruction information for archival?
Are there (open source) codecs that support additional recovery information to be added during encoding to allow for an improved recovery from corruption?
Application would be data archival of videos - thus a somewhat overhead of ~10% is acceptable to be allow for a better error handling.

Typically, error correcting code (ECC) is added to the storage mechanism as with Reed-Solomon on DVD and Blu-ray and the modifications for forward error correction in DVB and ATSC transports. Another common video archival medium, LTO tape, has two levels of ECC. Building ECC into the codec would be redundant and wasteful, so they mostly focus on error concealment.


text:
.webm blocky in initial frames, terrible for looping :(
I made a .webm by compiling a series of rendered out images with FFMPEG. I'm intending for it to loop in background. The problem is, the first frame/frames (not sure) come out very blocky. I used this:
ffmpeg -f image2 -i img%05d.png -vf fps output3.webm

anything I am missing to avoid this issue?

Try something like this:
ffmpeg -f image2 -framerate 30 -i img%05d.png -c:v libvpx-vp9 -b:v 0 -pix_fmt yuv420p -crf 30 -cpu-used 1 -tile-columns 2 -threads 8 -row-mt 1 output.webm

Placing -framerate 30 before the input specifies it as the frame rate of the input to be 30. This is then inherited as the output frame rate as well.
-c:v libvpx-vp9 specifies that you want to use VP9. If you want to use VP8, use -c:v libvpx instead. VP8 has lower compression efficiency but is also less demanding to decode.
-b:v 0 is required for -crf to work the way most people expect when using libvpx or libvpx-vp9. This is very important when it comes to quality, if you forget this your video is going to look bad at a CRF that would normally look good.
-pix_fmt yuv420p set the colorspace to 4:2:0 which is important for wide player compatibility and hardware acceleration. This is essential when converting a series of images into a video since forgetting to set this leads to higher file sizes due to increased color representation capability and can make some players display the video incorrectly or to not play it at all.
-crf 30 sets the bitrate control mode to Constant Quality and the value to 30. In my experience this is a good value to start with. Lower values lead to higher quality. Try out different values to find out what works best for your content.
-cpu-used 1 sets the encoding speed, lower values equal better compression. 0 is the lowest speed and highest compression efficiency while 5 is the fastest speed and lowest compression efficiency.
-tile-columns 2 specifies that the video will use two tile columns. These are used to achieve multi-threaded encoding and depending on how old your version of FFmpeg is this might not be set automatically. 2 columns is suitable for 720p and 1080p video. Refer to Google's VP9 encoding guide for the suitable amount of tile columns and the amount of threads they allow you to use.
-threads 8 defines the amount of processing threads available for encoding. Set this to the amount of cores (or threads if you have HyperThreading/SMT available) on your CPU for the fastest encoding. This option still needs to be set manually even in latest versions of FFmpeg or else libvpx will only use one thread, which slows down encoding significantly.
-row-mt 1 enables better multithreading for libvpx. Setting this manually doesn't seem to be necessary in recent versions of FFmpeg but it doesn't hurt either.

You don’t declare a codec or quality. Try this:
ffmpeg -f image2 -i img%05d.png -c:v libvpx -crf 10 -vf fps output3.webm

Reducing the 10 after crf should increase the quality. Also, “-vf fps”, I think defaults to 25 FPS. If you want something different, say 30 FPS, you would write it:
-vf fps=“fps=30”


text:
Why do high FPS videos look less blurry than real life?
Quickly wave your hand in front of your face right now. Looks really blurry right? Now watch a 60 fps video. How come it looks so smooth? To me 60 FPS videos look even smoother than real life. Why?

Well this answer is just based on my knowledge of video cameras and is largely a best guess.
In video cameras motion blur is not (necessarily) determined by the fps but by the shutter speed (in cinema: shutter angle). The quicker/higher the less motion blur (I guess you can liken this to a screens refresh rate). Thus, things filmed at 24fps (cinema standard) but with a faster shutter speed will have a sort of other-worldly appearance as if everything is faster than in the real world. A good example of this is the opening Normandy scene in Saving Private Ryan.
When you combine a fast shutter speed with more than traditional fps (generally anything over 30) the motion looks surreal. Likely any other phenomenon is related to the way we process images and that I cannot adrquently speak of as I believe research in this field is largely mixed.
Here is a good link on shutter speed: http://www.red.com/learn/red-101/shutter-angle-tutorial


text:
Why does motion compensation need a decoder?
I know that motion compensation is the process of using the motion estimaton MV information and then compensating it to describe only the differences between reference frame and the motion estimation mv.
Why do we need the decoder to do this motion compensation. We already have the reference frame and the motion vectors. We just need to translate and then send the residual information over as encoded bits.


text:
Video File (.MOV) Opens in VLC and Other Players But Not in Premiere
A four Gig .MOV video file plays perfectly on VLC, Windows Media Player and PotPlayer but when imported into Adobe Premiere Pro 5.5 the following error message appears :
"The file has no audio or video streams".
I've tried four different video file converter / repair tools (including Remo, Stellar Phoenix and StreamClip). All three tools actually worsened the problem instead of fixing it. Most of them made the file unplayable (as well as not editable). As a precaution, I only tried the repair tools on a backup of the file so as not to ruin the original.
I've searched but cannot find an example of a video file that plays back perfectly but cannot be imported into Premiere.

Share what mediainfo says for the file. Use View->Text mode.

I installed MediaInfo and exported the analysis here : http://www.hexgrids.com/MediaInfo.html.

I had this same issue. I found 2 different solutions for my file.
The issue has to do with some kind of codec issue with newer versions of Adobe that no longer support certain .mov encoding types (or something like that)
Solution 1: Rename the file extension to .mp4
Believe it or not, this is actually working for some people. Read toward the end of this thread.
I tried it myself and was finally able to open the file in Adobe CS5. However, only the audio appeared in the timeline. No video.
Solution 2: Re-encode using VLC
There's a fix in this thread from Sasha L. (dated April 11, 2018) that involves re-encoding the file using VLC. I tried this and it worked. The steps once opening VLC are:

Click "Media" in the menu bar
Select "Convert/Save"
Choose your source file
Select your destination file type (click the toggle icon in order to access more advanced encoding settings)
Choose your destination file name
Export

When I used this method I was able to export a visual-only video (no audio).
Between the 2 methods I was able to export audio and visual and import them into Adobe Premiere so that they could be combined.
Best of luck!

+1 for re-encoding, I found that .MOV files from my newer iPhone wouldn't import into an older version or Premiere. I re-encoded to MP4 using Handbrake (have never tried VLC for this), and the file came in fine. OP, also be careful it isn't anything to do with a 4GB file limit, most newer software avoids those issues, but if your software is old enough, that might be problematic.


text:
What are the website simulators used in adverts called?
I am working on a Kickstarter project video, and I would like to use footage from the website the project is raising funds for. I know I could use screen recorders, but if I am for example scrolling down the page or moving the mouse it would look uneven as it would have to be done manually. I saw some adverts for Wix, for example this one, which use some sort of digitalised version of the website for the shots where the screen is visible to make everything smooth. Are there any tools to do this? If so, what are they called and are there any free/open source examples?
If not, what would be easier: to write an AutoHotKey or similar script to make the mouse movement, or to use Premiere to animate a fake mouse onto it and to move a zoomed-out video recording with keyframes to simulate scrolling? Or do you have any other ideas?

Make a still image of the website, get another still image of the cursor. In Premiere move the website image to make it look like it's scrolling, and move the mouse layer to look like it's mousing.

I thought of that, but I still want to know what they are called since I couldn't search for it.

I don't think that website simulators are a thing. I'd say most times people use Animation™


text:
How to create “page turn / curl” effect in FFmpeg?
Is it possible to create animation that would be similar to "page turn / curl" effect in FFmpeg between two videos? The basic idea: the first video is playing and after some time the second video is replacing the first video with this effect. On images below, blue color means the first video, black color means the second video and yellow color means the transition color between two videos.

You'll need (to compile) a ffmpeg build with a custom filter: https://github.com/transitive-bullshit/ffmpeg-gl-transition, or use node.js script here: https://github.com/transitive-bullshit/ffmpeg-concat
The transition is at https://gl-transitions.com/editor/InvertedPageCurl

Thank you for the answer! Is it possible to use native filters of FFmpeg if I would simplify the effect this way: the second video appears from the right upper angle like on the images but  without any animation (just keep the triangle form of appearing) and replaces the first video?

A diagonal wipe? That can be done. I'll add that method within a day or two.


text:
Is it possible to cut video based on audio?
I wonder if any of you guys know some solution and can help a small team of inexprienced (in terms of video) podcasters. We're producing our Audio podcast in a purely audio editing software (Reaper) and do quite some cuts after the show to trim it as good as possible.
We're thinking about adding video for some shows and wonder if there's a way to bring these cuts to the video. The video will mostly be just recorded faces talking to each other so there's no need for perfection in terms of video - it's basically just a by-product. The idea is to find a way to minimize the additional work and to be able to use the audio that runs through some layers of cutting and effects as a base for the video but that would mean the cuts made on the audio needed to go into the video.
We're hoping for some solution that's similar to syncing multicam through audio. Any idea?

Why not reverse your workflow? Edit the video (with the audio) and then export the audio only for the podcast after you finish?

So, you have multiple clips with video and audio, and you also have a single finished audio podcast. The goal is to assemble and cut video clips according to the podcast. Have you tried Pluraleyes? I am not sure it can do exactly that, but it is designed for audio sync, so it might be something that you can use.

How long is a typical show, and do you record the audio in one continuous take?


text:
Is using a slog-2 and xavcs like profile worth it on the Sony A6000?
I want to make movies, but I currently have a Sony A6000.  I currently use a neutral profile and drop all the values to -3,-3,+3 or -3,-3,-3.  The Sony A6000, however, has only 8bit video.  I also raised the bit rate to maximize the information.  So is it worth it to use a slog-2 like the profile? Also, if the xavcs codec worth using to get more information?

From experience with S-Log (not on a sony) the trade-off you have for the extra dynamic range is a significant increase in noise in the midtones, particularly if you're shooting to a compressed format. That was with a Panasonic DVX200. As always, do some tests if you can.


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What's more important for video recording - STM or IS?
As I can see Canon currently lacks native wide (assuming crop sensor) fast prime lenses adopted for video recording that have built-in image stabilization at the same time. As an example, you can either pick Canon EF-S 24mm f/2.8 STM or Canon EF 24mm f/2.8 IS USM, which means you can't enjoy both IS and STM in this case. So my question is, what is generally considered as more "nice to have" and does STM has any other advantages beside being silent?

In line with @xenoid comment - you would probably be using appropriate mics with directional audio capture so USM wouldn't really be an issue


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What codec do I need for this video file?
I have a video file from my Hikvision NVR which I cannot play on Windows 10 in either VLC or Windows Media Player - all I get is a black video and the seek bar just whizzes along...
I can play this video in VLC on Windows 7 so I'm pretty sure it has something to do with the fact that it is a new computer.
Media Info gives me the following:
Complete name               : C:\Users\cos\Web\PlaybackFiles\2018-07-18\192.168.1.250_02_20180718224704172.mp4
Format                      : MPEG-PS
File size                   : 3.40 MiB
Duration                    : 1 min 51 s
Overall bit rate            : 257 kb/s
FileExtension_Invalid       : mpeg mpg m2p vob pss evo

Video
ID                          : 224 (0xE0)
Format                      : AVC
Format/Info                 : Advanced Video Codec
Format profile              : Main@L5
Format settings             : CABAC / 2 Ref Frames
Format settings, CABAC      : Yes
Format settings, ReFrames   : 2 frames
Duration                    : 1 min 51 s
Width                       : 2 560 pixels
Height                      : 1 440 pixels
Display aspect ratio        : 16:9
Color space                 : YUV
Chroma subsampling          : 4:2:0
Bit depth                   : 8 bits
Scan type                   : Progressive
Color range                 : Full
Color primaries             : BT.709
Transfer characteristics    : BT.709
Matrix coefficients         : BT.709

Audio
ID                          : 192 (0xC0)
Format                      : MPEG Audio
Duration                    : 1 min 51 s
Compression mode            : Lossy
Delay relative to video     : -5 min 7 s

Text
ID                          : 189 (0xBD)
Format                      : RLE
Format/Info                 : Run-length encoding
Duration                    : 1 min 41 s

I'm sure this is a codec, or perhaps lack of codec, issue but I need some help to determine what the cause of the issue is.
Has anyone experienced thisbefore?

It's not a codec issue, per se. Rename extension to .mpg or .vob and check. Else, remux using ffmpeg: ffmpeg -i in.mp4 -c copy out.mp4

@Gyan tried renaming and I still get the same results.  Annyoing that I suddenly lost this ability by upgrading to a different OS!!

There is hardly any video in your AVC file. The data rate is 0.2Mb and the frame is a full size PC desktop resolution (WQHD) instead of a  "real" video resolution such as 1920x1080.
Based on its size, I'd guess you only have 2 frames in there. That would be stretching a bit if you need a real video file. A low bandwidth (25Mb) AVC source of this size would be 100x bigger.
Try using a standard HD res at the source, a bigger bitrate and more key frames.

Why do you say that 25 Mbps is a "low bandwidth" for AVC? That's very high, I'd say


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"The sample rate of the two audio tracks is different"
I'm trying to merge a few video files through mkvmerge but I get the following error after running
mkvmerge -o '/home/videos/marged/new.mp4' '/home/videos/intro.mp4' \+ 'old.mp4' \+ '/home/videos/intro.mp4'

Error:
Error: The track number 1 from the file 'old.mp4' cannot be appended to the track number 1 from the file '/home/videos/intro.mp4'. The sample rate of the two audio tracks is different: 44100 and 22050

Is there a way to force this? If not how can I change the audio to the same rate as old.mp4 in ffmpeg for /home/videos/intro.mp4

To force to 44100 Hz, command template is
ffmpeg -i old.mp4 -map 0 -c:v copy -c:a aac -ar 44100 new.mp4

Is there a way to force the merge?

Using mkvmerge, don't see a way. Playback speed would be wrong for 2nd file even if you could.


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How can I replicate C-LOG in a Canon DSLR?
I shoot almost all my video footage on Canon DSLRs (APS-C sensors if this makes any difference). I know that true C-LOG isn't available on DSLRs and I've seen many sites that claim to sell "C-LOG" profiles however my understanding is that these are just custom presets.
So:
a) Is there actually any difference between these "C-LOG" profiles online and me just changing the settings in-camera?
b) Is this actually the best way to get the most amount of data out of my Canon DSLRs?
I know about "Exposing to the right" for example, but should this be used in conjunction with other settings?

The Magic Lantern firmware transforms Canon DSLR cameras into RAW-capable video cameras that are not half bad.  The native Canon video codecs are universally among the worst of any current DSLR, not only because of their weak codecs, but because their line-skipping algorithms really destroy the image quality from the start.  If you are shooting RAW video, then RAW->C-LOG is a valid transformation and one that will make your videos very easy to edit in most NLEs.  If your are shooting a native Canon profile, you've already lost resolution, bit-depth, and color gamut.  Any profile that reads a native Canon video file and converts it to C-LOG is merely memorializing all the bad that has been done to the image and offers none of the good that could have come from using RAW data to begin with.
TL;DR To get the most amount of data from your Canon DLSRs, use Magic Lantern firmware and scrap the Canon codecs.