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How do I export vertical video in Adobe Premiere CC?
I've got a simple Premiere project containing a mix of different "vertical videos" (aka videos shot upright with an iPhone). When I'm editing it, it looks fine, but when I go to Export Media, the only option I'm given is 720x480, which ends up adding black bars to the video. I just want to export the video in the original size without the black bars. How can I do this?

In Premiere Pro, if you change your sequence size to match your source, you can export the vertical video that way. In the project panel, right click your sequence and change the frame size to the frame size of your video.

You can then export with the preset of Match Source (the bitrate depends on your project needs).
Additionally, you can also export the video with the preset of your choosing. Uncheck the "Width and Height" and type in the appropriate resolution (example is below).

I don't know all the bits that go into how Export Media chooses the default exporting format (i.e., whether based on timeline, some other deeply hidden preferences, etc), but I do know how to change it.  From the dialog box that opens up, click on the video tab and choose the custom video format you want.
For more information, here's the Adobe manual page for exporting workflows.


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After Effects - How to zoom on track points
I want to mimic effects some YouTubers use where they track an object then zoom in on the object that is being tracked. An example would be someone's head moving in a frame, and it cuts to a close up that moves with them. So far I've got track points but I'm stuck from there. A video of what I would like to get is here:

Can you post the time we should be looking at? I can't see the effect you're talking about, and that video is too horrible to watch all the way through.

I think you just need to break this into two steps. First, do the motion tracking and apply the tracking data to whatever. Render that out, or sub-comp it. Second, use AE (or just use your video editing software) to do the zoom-in where needed. There's not much benefit to doing it all in one pass, as far as I can see from your example.

source: Stack Exchange

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

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Separating and Mapping Audio Channels in Premiere CC Multi-Camera Sequence
I'm having a lot of trouble getting my audio to work properly in multi-camera sequences.
I have just two sources, both video with a single synced stereo track. The stereo tracks for each source have been split into two mono channels (each channel is a different mono microphone.)
After creating the multi-camera sequence "Dr Chen pt.1 Multi-Cam", everything seems fine. Everything is synchronized and each of the 4 audio tracks holds a different microphone recording.
But when I create a new target sequence from the multi-camera sequence (for editing) it seems that the first two audio tracks are identical and the last two are missing. Furthermore, the first two sound like the sum of all clips from the multi-camera sequence. But I've made sure each track in both sequences is mono and mapped to a different audio channel.
The audio channel mapping is confusing to me, but I don't know what I'm doing wrong. Any ideas?
Here are screenshots of the audio channel mapping for the multi-cam sequence and the target sequence.

I believe that you have to correct mix both the target sequence and the original one, see if it's marked up as stereo, or multichannel or whatever else and handle the panning. Then you can go and interpret the resulting audio ;)

Premiere Pro is definitely not a digital audio workstation.  Its treatment of audio is primitive at best.  I believe its paradigm (which I think is screwy, but that's my opinion) is that a multicam clip conveys one of two types of audio: the preview channel track (which you have selected as Channel 1) or audio-follows-video, which means each cut you make, the audio switches to the one channel allocated for that clip.
I know you don't want either, but I don't think there's a third way.
So, use Channel 1 as your reference clip, copy and align the audio tracks you want to deal with to the sequence containing the multicam clip, and do all your audio edit processing there, separately from your camera changes.  Good luck!

I'm not 100% sure how you are getting waveforms for the 2nd audio track in your main sequence (last picture) because mine only gives me the first audio track (A1). This is a quirk or perhaps a bug that annoys me to a great extent. I can say however, that there should be no summation of audio A2-A4 on A1.
From a troubleshooting perspective, I would probably first try render and replacing each of the audio tracks (first unlink them) to see if that elevates the summation problem, as it would remove audio mapping as a potential problem ensuring that in the multicam sequence you have the mics separated.
However, the potential issue with this is that you will still have no waveforms for A2-A4 in your main comp, and you would only have A1 unless you are using 'audio follows video' which I don't think that's what you want as you seemingly want to mix the tracks.
At this point I think you are left with the option of roundtripping your audio mixing to audition; doing you're entire mix for the interview (?) there and then bringing it back into Premiere as A1 on your multi-cam whilst eliminating the (now) extraneous audio files.
This is probably less than ideal if you plan on taking on bits and pieces from the interview as you would be doing work mixing audio for something that won't even be used but it is nevertheless and option.
You could make some cursory edits in the multi-cam sequence and then work on the audio to help alleviate the burden of extra work.

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


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Adobe Premiere - export project with original resolution
Trying to import a .mov project at 2312x1644, do some editing, then export at the exact same resolution. I'm new to the program so I assume it has something to do with the codecs, but I don't know which ones to use, or in what order. Any guidance would be appreciated!

A .mov file extension implies that your source material is Apple ProRes (aka Quicktime).  When you import the media, the Project Manager will tell you what type of ProRes it is (422, 422 LT, 422 HQ, etc).  If you use this clip as a basis for a sequence, the sequence will usually inherit the same frame rate, format, aspect ration, pixel shape, etc., of the source material.
After you make your edits, you select the sequence (which contains the clip), the click to File>Export Media.  This will open a dialog box.  One of the options you can choose (it may be a default) is "Match Source".  That solves your resolution, frame rate, and pixel-shape questions.  To export as the same sort of ProRes, select the ProRes (or Quicktime) codec, and then select the appropriate sub-category (422, LT, HQ, etc).  You can then either export directly (using the Export button) or Queue it to Adobe Media Encoder (aka AME), which will then let you export from there.  (If you want to continue using Premiere while exporting, use AME).

it could also be h.264 just sayin

…or any of the dozens of other codecs that can be found in a quicktime container.


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Optimal render settings for embedding iOS video in an app
I've created some videos for an iOS app and am rendering them through Adobe Media Encoder 2017. These videos are then being played in app through iOS AVPlayer.
What render settings are best for minimum file size while also maintaining good quality?
Here are the default settings that I'm currently using:

I've rendered cropped versions of the file with confusing results:

750 x 1334 full screen, 7 seconds, 5.6 MB
590 x 1000 cropped out most white space, 7 seconds, 6.1 MB
506 x 904 cropped out all static content, 7 seconds, 6.3 MB

Bonus points for why the video size is increasing as the video screen size is decreased.


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Gopro hero 5 black video modes recommendation
Is there a recommendation or tips for the usage of the video modes that come with the gopro hero5 black, in the meaning of resolution vs fps vs fov:
https://gopro.com/help/articles/Block/Available-Video-Resolutions-for-HERO5-Black-and-HERO5-Session

A trivial recommendation is that you use the settings most appropriate for your application.  Only you know whether you need the highest resolution setting (because it is a requirement of your broadcast client), the widest or narrowest FOV (based on your subject material), and the appropriate frame rate, either based on where you live in the world (NTSC vs. PAL), are looking for cinema or video distribution (24/25p, 30p, 50/60i, 50/60p, etc), and whether you need to cut corners to accommodate media/battery constraints.

Great question! I would take a look at Abe Kislevitz's blog. He is one of GoPro's senior Creative Directors and has a myriad of information on his website that covers the best settings to use on GoPros.


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Importing marker data into premiere
Premiere has an option to export markers in .csv format but I cannot find an option to import .csv marker data. How do you do this?


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capturing video from VHS flickers
I am trying to record all my old VHS tapes. I bought a video grabber, usbtv 4-1.2:1.0: Fushicai USBTV007 Audio-Video Grabber, but somehow that does not work well. I tried using VLC, but that has some strange effects. Often it shows past frames while running. Maybe some buffering is needed? I also tried ffmpeg, but that gives me a lot of errors, and also those past frames in between. Maybe the driver is not that good? I also tried in Windows using the software that came with it, called honestech vhs to dvd. That appears to not show the flickering/past frames issue, but it barely has any configuration options, so I would rather not use it.
Does anybody have any experience with this?
Thx.

Could you maybe upload a sample video somewhere which shows the problem ? What OS / OS version are you using (Windows, Linux..) ? If you're using Windows, you can try VirtualDub, which I've used successfully for video capture.

To @JonasCz questions, I'd add: What controls are missing from the honestech software that you'd like to use?

USB devices are not really fast enough for video work, even something as low bandwidth as VHS. see @MartinAndrews answer below.

I did this a few years ago, digitized dozens of my family's old home videos.
The way I did it was, as at the time I was doing it from home and didn't have a IO device such as a DeckLink, I simply used a MiniDV Portable Recorder I got off eBay; which allows composite, component, and S-Video In.
Once the VHS tapes were transferred to my "Digital Intermediate" so to speak, I simply did a standard FireWire Capture using Premiere.
This also provided me with a set of DV Master Tapes as a backup.
You can likely get a used MiniDV HDV Record Deck off eBay for a few hundred dollars now that tape is dead; and just flip it when done (basically no cost if you can sell it for what you pay for it).
Going straight from Analog Tape, really requires a real IO device such as a DeckLink card to get good results, and a DeckLink card with analog IO will be much more expensive.

Going to DV means copping quite a big loss of quality due to the fairly heavy compression in that codec. How important this is depends on the user, but it's worth noting.

I recommended going to HDV. While still compressed, from VHS which at best will produce in the neighborhood of 210-230 lines of resolution, using HDV, which has a horizontal resolution of 1080; should not, to any eye, be noticeable.  On a scope, at high magnification, I'm sure there would be a bit of loss in under limit and over limit (0 and 100) luma and chroma, but for what he is describing, not even the best trained eye on a reference monitor would likely see the difference between the HDV and an uncompressed capture of a 20 year old VHS tape.

I may have found the answer ... I tried a different tape, and all seemed to work well. Stupid me did not check if the error is already on the tape :D
Thanks!


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GitLab like program for easier collaborative video production
As a CIO in a small video production bussiness I'm making my team work more efficent using various tools.
Recently I noticed that the file versioning on a local NAS server is still confusing for some of CGI dept guys and there are situations when they asks me where should they put 'those' files.
I really don't want to keep answering such questions so I'm looking for a program like GitHub / GitLab which will force video editing workers to just pull all the project revelant data (like hunderds GiGs of video clips, images, sounds and so on) and when it's ready - push every new or changed file intro adequate folder in NAS server structure (typically just ten's of MB's like new Premiere Pro project files).
I've tested programs like FreeFileSync and DirSync Pro, they may do the work, but I don't want to make everyone learn using a new program, so a Windows context menu entry such as "Pull a new project..." or "Push changes of current project" is a must! And because we are keeping every raw footage files, the sync must be one-way only.
Do you know such simple programs which will do the job?
Marty

Version control for binary files, especially large video files, is hard. The best workflow a lock-merge-unlock workflow, which is complicated for non-technical end users. Sony Ci might meet your needs. Otherwise you are going to need to look at the various MAM solutions, which would probably need significant customization for your environment. Others might have different suggestions, but it might depend on your environment. What NLE and OS are your editors using?

Try Resilio Sync it will push or pull or both files from a server, pc etc and keep them all updated.


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How to exit fullscreen monitor playback in Premiere?
In Premiere Pro 2017 (Windows 10) in Preferences -> Playback I can set one of my monitors as the playback device

Now when I playback video it will appear full screen in one of my monitors.  When I hit stop (spacebar) the video is still full screen.  How can I exit or quit this full screen playback mode?
I tried the obvious of hitting Esc but this does nothing.  Is the only option to go back to preferences and uncheck it? (Also how do I know which monitor is which?  Not knowing how to exit the fullscreen mode I'm a little paranoid that I will choose the same monitor that the Adobe UI is on and then be stuck.)

As far as I am aware, there isn't a way to disable Mercury Transmit if the viewer covers the UI, unless you set up a key binding. You can assign a keyboard shortcut to the "Enable Transmit" function in the keyboard preferences (I use ctrl+shift+' as it's similar to the maximise window shortcut). You can then use this key combination to toggle the full screen display on and off.

On a US format windows keyboard, you can press shift + ~ to get full screen, to exit this full screen do shift + ~ again and to zoom in control + ~, same this to exit zoomed in screen to full screen.
.

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


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Best quality conversion from VHS to digital domain (USA)
I (like everyone else) have some old home movies on VHS, VHS-C and 8MM (and maybe a couple DV even...).  I'd like to get them on my computer so I can edit them and store them.
In the past, I've used an old stand-alone DVD recorder that has an internal HD in it.  So, I'd record VHS to my DVR via the SVHS video cable, and then edit them on the DVR and burn to DVD.  Fine.  No problems.  But, I noticed most of the DVDs are blocky and have color banding issues.  The quality just isn't that great.  In some ways, the VHS actually looks better.
What I want to do is find the best way (in a consumer sense) to convert these to digital.  I've heard of people using Hauppauge PVRs, I've heard of people using video capture cards, I've heard of FireWire though I'm still not sure what exactly that is...
I plan on buying an entirely new setup for this.  I figured I might take a look at AlienWare since they're built for gamers and would likely be the best "off the shelf" box to start with.  Can someone give me some input as to where I'd go from there?  I don't want to spend $10K doing it, but if it costs $3K I'd consider it a good investment.

A Firewire cable is typically used to losslessly transfer DV (Digital Video) tapes to a computer, but maybe you should ask about that in a separate question.

Please tell me you didn't spend thousands of dollars. You can get the hardware you need in under 50.
I rip my VHS tapes with a PVR card as well, the Hauppauge (WinTV) are good ones.
I just use an RCA cable from my VHS player into the TV card, and record the input using V4L tools on Linux.
You'll need to use v4l utils to set the proper input on your card, and then use ffmpeg to copy the stream directly.
Here, I know what the length of the video is, and do a straight codec copy:
ffmpeg -i /dev/video0 -vcodec copy -acodec copy -t <hours:minutes> vhs.mpg


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What mixer should I use?
I plan on recording a podcast on Garageband. I have rode procaster mic. I will be using one mic and one phone input with irig to connect audio caller, I need one more input to connect ipad to play music during the recording. So basically three inputs is what i need so far, which USB mixer do you recommend that can record individual tracks in garageband for my voice/caller and music? Something not too expensive ofcourse.

Instead of recording the audio output of your music player, maybe you could get the music audio file(s) and then edit those into the podcast, directly in Garageband ? Thant way, you wouldn't need more inputs on the mixer.

Both Alesis and Behringer make mixers where you plug your iPad in and can do all the work on the iPad touchscreen, they normally have at least 2 inputs (some having 4) and all work with the core audio and Garageband apps enabling you to record and mix multi-channels

I have used Behringer mixers in the past and they have always done the job. Behringer makes a variety of mixers and plenty of them are priced below $100. Any of these mixers should do the job. Just make sure you purchase the mixer with the appropriate number of inputs and any additional features you may want.


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About Video Formats and prevention of download of videos
I have created a educational website in wordpress where I want to put videos for students. I have the following questions regarding this matter [I need help as I do not have technical background regarding this]:
1]. Which is the video format which will be accessible for students A]. without they having to install any software...B]. Which will be easy to play even on mobiles
2]. I want to prevent the students from copy pasting and downloading the videos. they should be able to read, see and hear...but not download / copy paste as I have copyrighted these material
3]. Are there any websites which have done this / which I could refer to ?
Awaiting your response
Thanks in advance
Harsha

If you don't want your stuff to be stolen, don't put it on the internet
People need to be able to watch your video on their computers. For that purpose, it needs to be downloaded to their computers. If it's on their computer, they have it.
There are ways to protect your video, but those are not failsafe and will inevitably result in a poor user experience. If I visit your site to watch a video and find that I need to install a DRM plugin before I can watch your video (cough Silverlight cough), I close the tab and don't come back. By being overly protective of your video, you are hurting your own views and you don't actually stop people who really want to steal your video for whatever reason. The most intricate of DRM systems can't prevent me from simply using a screen capture software.
Don't worry, be happy
Just put your video on YouTube or Vimeo and embed it into your site. This will also benefit your views, since your videos can get recommended to users on the hosting site, so they potentially create traffic for your website as well. Yes, people can download the videos. In fact, it's legal to do so in most jurisdictions (in Germany for example, it would be called a private copy). This doesn't give them the right to share it anywhere else and if they do, you can sue them. If you feel so strongly about protecting your content, you can even hire someone to search the internet for illegal copies of your video and have them sue the unlawful uploaders. Yes, I know, you can't search the entire internet. There may be copies of your video floating around on the deep web that you don't know about, but who cares? If it's hidden well enough that you can't find it, your viewers won't find it either.
You see the same thing in the photo community. People slap their huge ugly copyright notice, website link or logo on their photos to 'protect' them. But the people that care about that will just crop the copyright notice or blur it out. So the photographers make them bigger, have them cover the entire photo until it's barely visible any more. In the end, they are just damaging their own content. Don't do that.
Don't host your video yourself
It never works as well as a dedicated video hosting platform. It just doesn't.


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Import editable Photoshop text layers into Premiere pro cc 2015?
In After Effect when you import a Photoshop file you can import individual layers, and if there are text layers in your file, you can edit them into after effects by converting into editable text.
In Premiere Pro you can import these individual layers but I can't find a way to edit text layers/change there text formatting in premiere pro. You can do that in Photoshop a change will reflect in premiere pro, but is it possible to do inside premiere pro.
Suppose I imported a file with a background layer, one text layer with "Anshuman Chandel" in that layer. Now I want to change "Anshuman Chandel" with "foo bar". I can do that by "edit into Photoshop" option, but can this be done in premiere pro itself as in After Effect?
Thanks in advance!

You cannot bring them in directly, the way you describe.
After Effects allows you to import your PSD files from Photoshop, making use of editable layers and text.
Premiere does not.
However, you can get this to work by using Adobe Bridge, which comes with the CS suite. Bridge has a utility called Dynamic Link, which allows you to work in realtime in both PS and PPro. You then import in your PSDs with Dynamic Link / Abobe Bridge, and any updates made to the PSD title cards in Photoshop appear immediately.
This allows more than one person to work on a project, one on Chyron and one on cutting.
The only downside is you have to flip back and forth between the two- or use a multi-monitor setup, with PS on one and PPro on the other.
Only other option is to do you edits in AE, where you can bring in the PSDs as actual PSDs with Text, not just the layers.


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Adobe Premiere Pro CC 2017 super laggy playback
I don't know how can this be happening, I built a $1500 computer just to edit videos and apparently I can't even edit 1080p properly...
Why is Premiere pro struggling with 60fps 1080p videos? Whenever I playback my video either with (full, 1/4 or 1/8) I get super choppy and laggy playback to the point where editing is unbearable (no effects applied).
My specs shouldn't be a problem even for 4K video.
Core i5 6600K (overclocked @4.4GHz)
Cooler Master hyper 212x
Kingston hyper fury X 2x4gb @2666MHz
MSI GTX 1070 Gaming X (overclocked)
WD blue 1TB
Samsung 850 evo 256Gb

I have installed all of my adobe programs on ssd. Also when I start to playback the video in PPro the cpu usage goes to 100%
P.S. Could it be because of the high video bitrate? (60-80mbs)?

What can cause lagging:

Bottlenecks. If you rig is not balanced for a specific task, or has too little firepower in some areas then bottlenecks can occur.
Software issues. Bad drivers, bloated system .etc. Also, premiere isn't the least buggy NLE.

First thing I would check is the system monitor, to see what exactly happens when playback occurs. Does the CPU usage skyrocket to 100%, does the RAM get fully saturated, does the disk get fully saturated? These are all valid questions that will help you find out where exactly the problem lies. If none of these areas are peaking or showing a sign of a struggle, then the problem must lie with the software. If they do show warning signs, then you should consider:

To balance your PC I would add 8gb of RAM and increase the CPU to one of the greater core count i7's (6800k, 6950). Ofc, this will mean changing your motherboard as well as these processors require a different socket type. Premiere doesn't really care how fast your processor is, it cares how many cores/virtual cores your processor has. Case in point, my friend has a new 4 core processor and I have an old LGA2011 (not 2011-2) 3930k; my computer runs Premiere faster and they are both reasonably similar PC's elsewise.
If you are not editing off of your SSD do that now! You need to be able to provide Premiere with a quick means of accessing video clips. It is recommended to have an SSD for OS and apps, an SSD for scratch disks and cache, and an SSD for working projects; only using spinning disk drives for archival or backup storage.

If the software is at fault:

Check to see if this happens in another NLE! Download a trial of Vegas Pro and see if the problem persists there. If it doesn't than somethings wrong with Premiere.
Clean install of drivers for GPU using Nvidia's driver cleaner software, and a clean install of Premiere.

Ideally you want to develop a troubleshooters mindset. You can probably post this quesiton on many forums until you are blue in the face. There are just too many variables that are difficult to diagnose by hunting and pecking at the keyboard. You need to just go through each possible aspect one by one, focusing on the easiest first: (1) work on SSD (2) check other NLE (3) clean install .. etc. Then you can get into addressing whether your computer can handle the footage. Based on my knowledge (which is limited with i5 processors) your computer should be at least able to play 1/2 quality 1080/60 without a hiccup, and 4k in 1/4 quality.
Side note:
I have recently helped someone on a forum with similar specs except a 6700k and a 1080gtx, they were also having issues where the timeline would 'buffer' at the start of each clip on the timeline. Unfortunately we were never really able to narrow it down to any one specific thing. Many other users online have also reported laggy playback on official adobe forums, some of which do not even use newer (and possibly less supported) hardware.

Edit
Also I forgot to mention that the codec you use can make a world of difference. Often people with less than 6 cores find that their computer can't handle figuring out codecs that are compressed using for example XVAC using as their computer is left with the processing:

In an interframe codec, when a frame is pulled up, the person has to look at the frame before it, and after it and then decide how to unwrap it – before unwrapping it.

In this case, and for troubleshooting, it might be a good idea to convert to DNXHD an intraframe codec.

Whenever I playback a video in a timeline the cpu skyrockets to 100%. I may have to switch to sony vegas if PPro is such an unoptimized software...Also I may have to try to put my footage files on ssd and see what happens.

My footage contains NVENC H.264 codec

h.264 is a interframe codec. are you recording your computer screen? NVENC i thought was only used in screen recording software, not cameras. If that is the case, maybe you can record to an inter frame codec instead in the program. Else, you can convert to dnxhd with media encoder.

I'm recording my gameplay with obs software. There's also another option for encoding which is x264

Haha its funny because originally when I was writing up my answer I was thinking that your computer is more geared towards gaming esp. with all the overclocks (premiere sometimes doesn't behave nicely with those). But yea x264 is still h.264 just a different wrapper. so still interframe. you could try downloading dnxhd codec pack from avid, install, restart and see if it shows up in your obs. if it does work, and you can record to it, expect much much larger file sizes.

also I forgot to mention that this lagging occurs during scrubbing, playback is kind of fine. Maybe this is normal?

If u are using a hard drive - definitely

from that same link: "To answer the first hurdle, modern CPUs are capable of handling interframe codecs easily, so there’s no advantage to go intraframe only for this reason."

Usually this is due to too low data throughput on your data drive. Try to move your footage to the SSD, putting Premiere itself on an SSD only gives you the benefit of a fast launching program. If footage is lagging or skipping its either your PC can't decode the footage fast enough which is barley the case nowadays with a high-end PC or your hard drive can't keep up serving data fast enough because you may be working with high-resolution high-bitrate footage. A HDD is bottlenecked very fast in that case, especially when you skip around in your footage. A fast S-ATA SSD or even better a PCI-E/NVME SSD will give you the most performance benefits when working with many large footage files.
If your recorded game footage, you might have recorded with a lossless video codec which usually produce enormous video files. Transcoding that to a visually lossless intermediate format like MJPEG with a lower bitrate can also help.

I just upgraded from PP CC 2015.3  to PP CC 2017 and my perfectly smooth playback is now choppy and has lag on the same machine.  About to downgrade.

This is not an answer to the question. Please don't post comments as answers.

I don't know if I quite agree that it isn't an answer.  It's a fairly minimal answer, but the poster is basically saying that it is a problem with this version of Premiere and to try the previous version.

The way it is put now, this is more a comment on a personal experience, rather than a solution for the OP


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Pausing two keyframes at same position then moving to next one? After Effects

I have a rectangle whose position at first keyframe-1 is (400,300) then at next keyframe-2 its (400,157) then i create another keyframe-3 with same position (400,157) after 1 sec and the final keyframe-4 at position (400,300) , the problem is position between keyframe-2 and keyframe-3 is changing despite being at same position, how can i solve that?

There are two types of interpolation for keyframes - temporal, and spatial. In plain English, temporal interpolation is how the speed of the motion is interpolated between keyframes - it's what you change when you ctrl or ⌘-click a keyframe, and spatial interpolation is how the motion path is interpolated between keys. Your problem is that AE is applying the wrong spatial interpolation.
Usually After Effects uses Bézier spatial interpolation between keyframes, meaning that they create smooth curves in space, which is usually what you want. However when you create a static pair of keyframes this causes problems - the layer overshoots the first keyframe and bounces back to the second.
To eliminate the problem bring up the keyframe interpolation dialog. You can either right-click the keyframe or use the keyboard shortcut alt⌘k (mac) or altctrlk (pc). Set the spatial interpolation to linear. This has the unfortunate side effect that any bezier handles you may have carefully created on the keyframe disappear. To make only one side of the keyframe have a handle you can select the keyframe in the timeline window, then alt-click it in the composition window (the cursor should turn into the V shaped arrow). In more recent versions of AE this will give you a bezier handle on the incoming and outgoing curves, not on the curve between the two identical keyframes. But because they're on top of each other you need to select them individually in the timeline first.
There's another way that I should mention, and this is by changing the temporal interpolation. If you right-click the first of the identical keyframes and choose toggle hold keyframe the motion will freeze until the next keyframe. If the keyframes weren't identical it would instantly jump to the second keyframe at that point.

Change the spatial interpolation of keyframe-2 to either Linear or Hold.
See https://helpx.adobe.com/after-effects/using/keyframe-interpolation.html


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Expression for inverse parenting on Y axis in after effects
I have a composition in After Effects (CS6) that contains 2 objects that are usually a set distance apart. I am looking for an expression or other method to automatically move one layer by the same amount as its parent, but in the opposite direction (as in if the parent goes up 5 px the child should go down 5 px). So far I haven't been able to figure this out, but I am very new to expressions.
Thanks!

By having the layer parented you make it a bit harder. If you want the second layer to follow the x coord of the first layer, but mirror the y coord this will do it (without the second layer being parented)
var centerY = thisComp.height/2;
var p = thisComp.layer("the name of the controlling layer").transform.position;
[p[0], centerY - p[1]]

If do you need the second layer to be parented the following should work. Because the distance from the parent to the centre point is the same as the distance from the center point to the child, we can just multiply it by two to get the y distance in the layer space of the parent:
var centreY = thisComp.height/2;
[value[0], 2*(centreY - parent.position[1])];

Both of these expressions will mirror around the centre of the comp vertically. You could mirror around an arbitrary y point by specifying it on the first line instead of thisComp.height/2, e.g.: var centerY = 1234.
You could also use another layer as the control of the mirror point by using this instead of that expression: var centerY = thisComp.layer("name of center control layer").transform.position[1]

Maybe try the Kaleidoscope or mirror effect instead?  Might achieve the same thing much more quickly.


text:
which camera glasses allow recording while connected to power source
I am trying to use camera glasses for documenting benchwork.
Most of available models allow 1 to max 2h hours of recording for as long as the battery lasts and only allow next recording after the battery is recharged (3h).
I need either to continuously stream or to make long recordings with low frame rate (5/second). I don't mind walking around with a bunch of wires or having a power supply connected continuously to the glasses.
Can somebody recommened a model of camera glasses or perhaps a clipon camera which allows to adjust frame rate, allows streaming (that is optional) but most importantly allows recording while connected to power source.
Thanks so much in advance!!

A GoPro camera can be connected to a power source and can record for a long time.  There are numerous ways to attach one to your head (or safety goggles).

Thanks so much for responding. I'll consider using the GoPro. I was thoughtthinking of something less bulky. Besides I need to record what a technitian is doing literally with his hands. I assume the GoPro would provide more of a "from top" type of view.

n.b.  The best way to express thanks is by actually up-voting a useful answer.  Merely saying thanks is actually a good way to get your comment deleted (across all of stackexchange, not just the video group).

I tried voting your asnwer up a couple of times – it says " Votes cast with less then 15 reputation are recorded but do not change publicly displayed score ". Sorry about that. Despite what you say I still believe in the eternal power of good old " thank you " :)


text:
Compatibility between Adobe Premiere Elements 15 and 11?
Can Adobe Premiere Elements 15 process (take over) video projects (.prel files, etc.) previously built with Premiere Elements 11?
In other words, if I upgrade my iMac Mountain Lion OS X to El Capitan and get Premiere Elements 15, am I screwed, or can I continue the projects started on Premiere Elements 11?

In general with Adobe software, newer versions of a program can open/import project files created with older versions. This makes sense, since it would be pretty stupid if you couldn't open your old projects anymore after upgrading your software version. However, in most cases the project files are not backwards compatible, meaning you can't open a project created with the current version of your software with an older release of the same software.
For this reason, if you open an old project file with a newer release of Premiere Pro, it informs you that the project file needs to be converted and prompts you to save the new project file with a new name. This way, you will still have the old project file that can be opened with the older version of Premiere. However, any additional changes you make to the project will only be present in the converted project.
For Elements, I'm not sure how the conversion is handled, but you will definitely be able to open your Premiere Elements 11 project file with Premiere Elements 15. However, once you overwrite the project file from within Premiere Elements 15, you probably won't be able to open it in Premiere Elements 11 anymore.

Thank you. Your answer is very encouraging and describes an ideal situation. Sometimes products fail to meet their own specs however. So I would be comforted to know if you have, or know someone who has, actually experienced this, or an equivalent, upgrade conversion?

@Lor I've done this with Premiere Pro many times, but I've never used Premiere Elements. I am quite certain however that there won't be a problem when you upgrade. But if you are worried, just install Premiere Elements 15 alongside your current version (trial is available here), import your project and check if it works before you buy the new version

I would try that, but PE version 15 won't work on my current OSX 10.8 and PE version 11 may not work on a new OSX 10.11, so I'm catch 22'd to go for the complete upgrade, or not upgrade at all. At worst, I'd have to revert my Mac OSX back to 10.8. Maybe PE11 will work on OSX10.11, or the best would be PE15 will import PE11 projects under OSX10.11. Thanks again @MoritzLost. I appreciate your advice.

BTW, I will report on my experience here.


text:
How to load 3D LUTs on Dslr?
There are few film emulation LUTs (LookUp Tables) that I would like to use on my DSLR in real-time (live) because shooting live with LUT applied gives very accurate results and cuts down time on post editing process.
I would like to know if there are any ways to use LUTs live on DSLR just like you can with some smartphone apps.

In general, it is preferable to pick one site or another to post a question on, based on where you feel it fits best.  Posting the same question on multiple sites divides up answers and makes it harder for someone else to find answers in the future.  Cross post is http://photo.stackexchange.com/questions/86088/how-to-load-3dlut-on-dslr%3E

@AJHenderson Well its person named null who recommended me to ask here http://photo.stackexchange.com/questions/86088/how-to-load-3dlut-on-dslr#comment150122_86088

yes, he was probably correct that this is the "better fit".  In those cases, the best practice if you already have answers is to flag the question for moderator attention and ask them to migrate.  Then the entire question can be moved with existing answers.  It isn't a big deal either way, just was letting you know the general guideline for it.

As far as I'm aware there are no dslrs with lut loading capabilities. Further, many professional grade cameras don't even have that ability.
I suggest getting a small HD monitor and loading it there and connecting that to your Dslr.


text:
why is the camera auto-focusing inspite of being in manual mode?
I am trying to take video for a time lapse of stuff I write on white paper. Issue is that when the paper is blank, it looses its focus automatically. Unitl something or some writing/drawing/object is put on the paper the focus will wander off.
All this happens even when my camera is in manual mode.
Here is a sample:

First I want to understand why it happens, and, how to avoid it. I own a canon powershot sx 520 hs

It looks like by default, that camera fine-tunes the focus (even in manual focus).
From the Canon support page: To deactivate automatic focus fine-tuning when the shutter button is pressed halfway, choose  -> [  ] tab -> [Safety MF] ->[Off].

I had previously set it that way...yet the auto-focusing happens...

I see. It's really tough to say, and while a few reviews on the internet also indicate the problem you're having, the specs do claim control over manual focus. This shouldn't matter, but have you tried the non-automatic shooting modes (aperture-priority, shutter-priority, and manual)? Perhaps the camera is taking too many liberties on its own if you're in auto or P mode.

The workaround I used with a camera that had similar "functionality" was to use a sheet of paper with a grid on it (that I could easily remove in post) and this gave the camera enough to focus on.


text:
How do I import minidv video to windows?
I've connected my camcorder to the pc via firewall,driver was also installed but when I plug in and out nothing happen. (Except the sound). Do i need any software?

What model camcorder? Did you check the manual for instructions on importing?

of course you need software. There are several that give you 30 day trial. or you can install Ubuntu and then download the video with dvgrab. works very well.

DVIO, https://www.videohelp.com/software/DVIO, will capture from the camera into a raw AVI file. No re-encoding, the file contains a perfect digital copy of the data from the tape. Last time I used it was on Windows XP machines, not sure about the current compatibility - but it's worth a try. The download is small, and it's free.
Otherwise, as Stephen suggests, try a trial version of one of the commercial products. Adobe OnLocation also always did a good job of this, but I've not used that in a while either, I just haven't been using MiniDV tapes.
Once you have the tapes digitally downloaded into files, you can re-encode with something like Handbrake, if you want some smaller files that you can use for viewing. I would just keep/archive the original tape download files in case you ever need to go back to the originals.


text:
Cheap option for recording HDMI output
I have been looking for a way for my PC to record HDMI output so I can record my gaming console without buying an expensive capture card. I already have a HDMI splitter I'm just looking for some cheap software.

This question would probably be better suited on the Hardware Recommendations site.

An HDMI splitter is not what you need. You need either an HDMI capture card, or a standalone HDMI video recorder. The cheapest HDMI video recorder you're going to find is the Atomos Ninja Star, for $250 on B&H: https://www.bhphotovideo.com/c/product/1285811-REG/atomos_atomnjs001_64_ninja_star_recorder_with.html
HDMI capture cards start around $130. Here is a good one from Blackmagic, for $137.50 on B&H: https://www.bhphotovideo.com/c/product/964122-REG/blackmagic_design_decklink_mini_recorder.html


text:
Divide video ouput
I will soon be in charge of multiple screens for scene at a concert. Those screens are centralised and a video output will be give to me. I'am looking for a way to divide this video output into two virtuals parts in my computer. The top part and the rectangle at the bottom.

The goal is to show different visuals on the two parts.
Thank you for your help

Need concrete details. Input format? Output format? Tools/software available? Do you need to rescale parts of the input to form the rects at the side & bottom. Like I said, some concrete details.

Also, what is your budget?

Resolume arena can be used for such perfomances

If precision sync is not an issue, you can create your program streams in any editing platform, using one audio track, and a separate nested comp for each "screen". Then make output your playback files to your desired playback format, and just make sure you set it up to have identical pre-roll and enough tail end to not cut to a blue screen or no video signal when finished (add black).
As far as playback is concerned. I had a project we did 2 feeds, 3 screens, (L, R, Center). The sync was not frame critical, and we were able to get away with outputting our files to BD-R and using Blu-Ray players as source decks. Using the same brand Blu-Ray (Sony) Player, and a SINGLE remote control. Using one remote, allowed us to queue, stop, start, the program feeds, and the sync was near perfect.
If you need frame accurate, or field accurate, you will need a playback system of some sort. If using decks, as long as the decks have pre-roll and are frame accurate, you can sync them together and use a jog shuttle to control them.
Also Playback Pro is worth looking into: https://www.dtvideolabs.com   A bit expensive, but it will do multscreen presentations, and is designed for live AV.
It all depends on how perfect your sync needs to be. One project we did used 2 20K Christie Projectors to shoot polarized (not active shutter) 3-D; just like in theaters. For that, we had to be field accurate.
Hope this helps.


text:
Crop a man out of a 360 video
I'm making a 360 video, filmed with 2 180 degree spherical cameras back to back.  The problem is that the man holding the cameras shows up in the bottom section of the video.  With the software, (I am using Kolor Autopano Video) is there a way to crop a section out of the video?

To do any cropping of video in Autopano Video, you will need additional software from Kolor: either Autopano Pro or Autopano Giga. That will allow you to click the edit button below the preview window to send it to the editing program and apply a crop.
Alternatively, you can render out your video from Autopano Video that includes the cameraman, and then make your crop in a video editing program like Premiere Pro or Final Cut (even iMovie and Windows Movie Maker may work). That video can still be rendered as 360 video.

Yes, but what shows instead of the man?  Sorry I'm a complete newbie to this.

Nothing shows instead of a man. Your request was for a crop. If you want to mask, that's a very different story, and given you don't have overlapping video (you mentioned two 180-degree cameras back-to-back) that could be quite difficult.

So, the idea would be to film without the man being in the way.

Most 360 videos I've seen simply accept that there is a cameraman. Check out nearly all examples on Littlstar, for example. If you don't want a cameraman in the frame, your camera will typically be stationary while the action occurs around it.


text:
Combining different videos in a script
I do a lot of 3D asset reviews with clients.
I send them over a bunch of video files to review, but I'd rather just send one video that shows off the asset from multiple angles.
Is there any software out there that could do this? I'd rather not have to manually combine the videos in Premiere all the time.

ffmpeg can do this. It's a great tool and can literally do this with one click. The caveat is that you have to set it up and create the script yourself. Not hard if you have a bit of programming or shell experience. A good challenge if you're a computer enthusiast. Very hard if you don't really like computers and all that stuff. http://stackoverflow.com/questions/7333232/concatenate-two-mp4-files-using-ffmpeg

http://video.stackexchange.com/questions/20430/how-to-concatenate-multiple-videos-with-ffmpeg


text:
Can a DSLR be used to host a webinar?
Can a DSLR be used to stream a web conference / webinar? In my exact case I have a Canon 70D available.
Is this possible and how would I get started setting it up?

I heard from a friend who specializes in streaming services tell me that DSLRs usually don't work well. I have no experience nor a source so this is a comment not an answer.

Do you need to be able to live stream, or just record to post somewhere later?

@RyanWeaver live video

FYI the Canon 70D can't record for more than 29 minutes, 59 seconds at a time. If you're just streaming, look into the BlackMagic Web Presenter. It can trick your computer into thinking that any HDMI or SDI source is a webcam.

In my opinion, a webinar camera needs the following features:

Recording time: You can set the camera up and it records unattended for the whole length of the webinar (which could be 1 hour or more). This includes a big-enough storage card and a reliable battery pack.
Flip screen: You can see the framing while you record yourself
Audio: The camera or an external microphone should record in good quality

It seems that the Canon 70D has all these requirements. But you finally have to try it out yourself.


text:
After Effect: How do I achieve the smoke effect?
I am trying to make the smoke after as seen in the picture attached. I have tried to search for the tutorials but there isn't any tutorial that teach me exactly the effect I wanted to create.

It's difficult to tell from your question exactly what you're trying to do.  If you could link to a video of the effect you're trying to reproduce, or phrase your question more specifically, you will get more helpful information.
If you're looking for realistic smoke, fluid dynamics simulation isn't really something that After Effects can do on its own.  You'll need to get the physics right in another package, and probably render it elsewhere too, then maybe composite it in After Effects.  This is an extremely complicated topic, and there isn't one tutorial that covers it all.  But you might want to look into some other software like this.
But if you just want to "fake" it, you can just use different layers of fractal noise attached to particles.  For this type of effect, search videocopilot.net for tutorials on  Red Giant's Trapcode Particular.

Thank you for your answer.
This is the video of that showing the effect I wanted to create.
I have tried mimic this effect by using the fractal noise effect but it doesn't quite look the same. I just wonder if there is other way in making it.
https://youtu.be/VZ4xmgvf-iE?t=2m2s


text:
Edit It Raw HD(1080p) Video
So hard drive capacity is not a concern for me.
I just would like my videos to render instantly.
Is there a way to edit in raw in FCP7 or some other video editing software?

I have literally no idea what you are asking. Please refine your question and clarify what you're trying to do and what's not working.

@MoritzLost so I believe its called Mercury Playback after doing some research in Premiere.  Does that help or do I need another example?

Is your concern with the responsive and speed of the system during editing? Or during export of your edited project?

@Mulvya I didn't think it altered exporting of the project so just the responsive during editing.

RAW files are also known as digital negatives and therefore cannot be used directly for editing video or other purposes. They must first be processed.
To process them you will additional software. And this will depend on your needs. From which device did you get this RAW data? To which format would you like to convert it?
For example, if you use the 5K video camera RED Scarlet Dragon, then you RAW files would be in REDCODE raw format.
To convert this to readable format you may use REDCINE-X raw viewer which, by the way, spits out in playable ProRes files.
Finally, you can take this into Adobe Premier Pro to do your editing.
To conclude it would all depend on your needs and why you would like to work on RAW files in the first place.
Check these links for more info:

List of RAW Formats.
Video Workflow: Using RAW Files.
RAW files processing by extracting DNG frames.
Importing RAW files in FCP.

Dv files are a raw format but not what you are taking about I believe

Rather than use the antiquated FCP7 which is not able to handle RAW files due to the limitations of the software. Moving to FCPX will allow you to edit the native files (if supported) or will do the trans-coding for you in the background.
If you do not want to buy FCPX you can try Davinci Resolve 12.5 which is free and is a powerful editing system and can handle a large variety of file formats.
I would advise converting to a more editable format (system dependent PC/MAC) and or creating proxies. The performance of the software is going to depends alot on how good your editing system is, CPU, Ram, GPU, HDD, SSD, Raid etc.
Editing in "RAW" is not really even done by the "Professionals" in Hollywood as the files are massive and working between teams in different parts of the film would take for ever to copy and move. they would make smaller HQ proxies at a fraction of the size and work using them and in the final stages relink the HQ master files and export a final etc.

I'm not concerned with file size just rendering speed

Import, create proxies, do all your editing, relink to master files for final export.
Other option is buying a SUPER fast raid with SSD's and or with a  fiberchannel to edit RAW.


text:
Tagging each player's touches in a soccer game
I'm a soccer coach and I'm always looking for ways to help my players improve. For example, we record all of our games so the players can watch them afterwards. However, I find it to be an inefficient use of time for a player to watch the entire game if they only touch the ball 17 times, for example.
My question:  is there a way for me to tag every time each player touches the ball? Then when a player reviews the video, after I finish this editing run, they can pull up the 17 times that I've tagged them? I'm open to using whatever software and process would best meet my need.
Thank you in advance for any help you can provide!

A hack solution might be to upload it to YouTube. Then in a comment under the video you can just write the time that a player touches. The youtube engine will automatically turn it into a link that will reload the video to that time.

My solution here is time- and labor- intensive, but it will work. I'm tailoring it for Adobe Premiere, since that's what I use, but any multi-track editing software should be able to handle this.
The person editing the video brings the footage of the game (which I'll call the "main video") into the timeline. Then the editor adds a new video track for each player who was in the game.
The editor watches the video of the game (the "main video"), and each time a particular player touches the ball, the editor

cuts the main video before and after that touch
copies that clip from the main video
pastes it onto the track for that player

If two players are touching the ball simultaneously for some reason, the clip gets pasted into both their timelines.
After the whole main video has been "distributed" this way, there will be big gaps between the clips in each players' timeline. The editor now removes the gaps from each timeline.
The editor then hides all tracks except player #1, sets the correct endpoint of the video (for that track), and exports that as its own video. The file name for the export can be that player's name. The editor then hides player #1, and displays player #2, sets the video endpoint, and exports again.
This whole process is somewhat tedious, but it will work. I'll be interested to read other people's ideas!

Hi Brett, thanks for the detailed response. I was waiting to see if we'd get any other responses before adding this comment. While I'm glad to see that you've come up with a functional plan, I agree that it sounds laborious. I was hoping there might be a simpler way to tag the times that each player touched the ball but life doesn't always give us what we want :). THANK YOU again for your response.  -Adam

hey i maybe came up with a better solution :
upload it to youtube and provide your players with the timesatmps in the description this way they can click on it and see their stuff

This is a totally legitimate answer, but it's not written in the style and form of a proper answer on StackExchange (hence the negative vote).


text:
Video capture software for 10-bit 4K
I have a Blackmagic Intensity Pro 4K video capture card and Panasonic GH4, which can output 10-bit 4K from the HDMI port.
I'm running Windows 10 and I have two 1 TB SSDs, but with write speeds of about 450 MB/s, they are not fast enough to capture uncompressed 10-bit video, which is the only 10-bit option the included Blackmagic software provides.
I'm trying to find video capture software, but Google only reveals abandoned software like Virtualdub and tools for doing screencasts.
Is there video capture software that can handle 4K/10-bit encoded with some kind of codec on a "normal" SSD?

ffmpeg with the decklink API enabled. You can get such a precompiled Windows binary from https://ffmpeg.zeranoe.com/builds/

Hmm, I have ffmpeg installed for conversion, but didn't know it could do capture.  I have the binary from that page installed, but when I run ffmpeg -f decklink -list_devices 1 -i dummy from the examples in the documentation (https://www.ffmpeg.org/ffmpeg-devices.html#decklink), I get the error "Unknown input format: decklink"

Check the banner of your ffmpeg for --enable-decklink.

Yep, it's there. ffmpeg version N-83133-ge664730 Copyright (c) 2000-2017 the FFmpeg developers   built with gcc 5.4.0 (GCC)   configuration: --enable-gpl ... --enable-lzma --enable-decklink --enable-zlib

Broken since Dec 10. Get an earlier build from https://ffmpeg.zeranoe.com/builds/win64/static/

You probably need to use the memory as buffer. Is using a RAID an option?

@sebix I tried using the SSDs in a Win10 software RAID, but it still wasn't consistently fast enough.  What do you mean by using the memory as a buffer?  I do have 32GB of RAM and 8GB on the graphics card (GTX1070).

@PatrickKenny I don't have a solution, but from a similar project I know that they have to buffer the data in very fast memory as all affordable disks are too slow.

Uncompressed Prores HQ at 10 bit will yield extremely large file sizes. Is there a reason you want prores? 4K 444 10bit uncompressed would be, in my opinion, better captured as an uncompressed AVI "true uncompressed". Or, if your decklink allows it; Uncompressed MOV using the animation codec with Alpha turned off, only RGB.
Also; you may want to use 2 SSDs and RAID 0 them; while your single SSD may be able to sustain 450mb/s, it is going to fill up rather quickly, and any hiccups will cause a stop in capture or drop in frames.
For a fast HDD solution, I recommend an Intel 4 Channel SAS Raid Card; with 4 SSDs in RAID 0; which of course you would want to back up after capture (due to no fault loss protection using RAID 0.  I use this solution using (2) Intel Cards running (4) 1GB Crucial SSDs and I get sustained 2.4 GB/S read and write. So once your capture is finished, you can transfer all your files from your first RAID 0 to your 2nd RAID 0; in roughly 25 minutes - provided you filled the full 4 TB.
There is also a RAID SAS expansion card which allows more drives which can be helpful if you plan on running a RAID 5, 6 or 1, or other setup.
As far as software is concerned; FCP would interface with the Intensity Pro; as would Premiere Pro (recommended) I also believe that Blackmagic has a free download package that allows for captures in various (non-prores) codecs. But uncompressed would be available.
I'd only close with I see no reason to tie yourself to prores unless the post house you're working with or client demands it. AVI or MOV as animation when dealing with 444 is by far the way to go.

Thanks, yes I wanted just 10-bit uncompressed, not prores; I'm on Windows anyway so dealing with prores is a pain.  The Blackmagic software has an option for 10-bit uncompressed but it chokes on my system, even though the Blackmagic speed test software says it should be fast enough.  I also tried the two drives I have in a RAID 0, but that didn't work with the Blackmagic software.  Maybe I'll give Premiere a try; I've been using Resolve, but it doesn't have that option.

Avoid prores then; there is literally no need for it. I'm sure this comment would take heat for saying this; but cutting on apple and the FCP platform is a dying trend. The power now is in custom PC's running Intel XEON chips; in rack chassis setup. You have full control of how you want to set up- AND expand your system. Adding ram; graphics cards; upgrading, it's far more flexible.  I would however; recommend at the very least using 2 SSDs; and Raiding them as a RAID 0.  Your motherboard should have 4 ports marked RAID (likely white SATA ports). Use Rapid Storage Controller DL from Intel

I managed to get this working with ffmpeg using prores of the lowest quality (LT).  This does not answer the original question exactly-- I still am trying to find a way to do uncompressed 10-bit, or least high quality prores-- but for now, this is the best I've been able to get.
ffmpeg -bm_v210 1 -rtbufsize 1500M -threads 4 -f decklink -i "Intensity Pro 4K@20" -c:a copy -c:v prores -profile:v 1 MYFILE.mov


text:
What if YouTube owner doesn't respond if I can use their upload further?
I was looking for a video for knowledge and blogpost which I found on YouTube under Standard YouTube License. However, when I tried to contact the owner, I think he/she is not active on YouTube anymore. Because that is the last video uploaded by the user and that is 7 years ago. What to do?

What is it you planned to do with the video?  A link to it is probably fine.  Embedding it on your site or in your blog is probably allowed under the YouTube Standard License as well, but there may be requirements (like you have to show who created & uploaded the video). Question: Could you find another video with the same information?  If so, perhaps the owner of that video may respond to you.

I'm planning to embed the video on my blog not just the link. It's a 1958 documentary which I think owner didn't create himself/herself. For your reference this is the link to the video: https://www.youtube.com/watch?v=UJ6w1esVcoY

I just Googled "youtube standard license embedding". It looks as though you can do that without any issues.  Here is the link. But that YouTube uploaded someone else's material, which may mean that the video will be removed from his/her channel. Therefore, check your blog periodically to make sure your embedded video will still play.

Thank you buddy.. Finally I have completed my blogpost. if you wish you can check it here. And yes, feedbacks are welcome! :-)
http://www.nirmitkapoor.com/single-post/Return-of-Analog-or-Film-Photography

Nothing, really. YouTube Standard License doesn't give you any rights to redistribute or remix the video (see my answer here). You can only try to contact the uploader through other means. Look through their channel info to see if you can find a website, Twitter, E-Mail address or any other contact information. Depending on how badly you want to use this video, there are also other means of online stalking finding contact information that you might try. For example, if he uses a distinct user name you can try to search for that user name on Google, Twitter or other social media and see if you find something.

Hey Moritz, Thanks a lot for the swift reply. As you said, I tried to get any available contact info for the user but it seems that either user is no longer using the account or account is not accessible to the user. Google+ profile only shows 1 follower and not even a single reply on the comments below the video in last 7 years. Though I have left a comment to reply me back by February 3rd else I will consider it as yes with an apology. Is it okay to go ahead after February 3rd?

@NKAPOOR If by go ahead you mean use his video for whatever you are working on, no. A videomaker owns his content, so he gets to set the rules on how to use it. If he doesn't want anyone to use his video, that's his decision. He also is not obliged to answer you (even if the answer is no), and you don't get to set a deadline after which his content is fair game. Copyright is implicit in most countries, meaning if you create something, you hold the copyright to it by default. In Germany for example, the copyright only expires 70 year's after the artists death ...

I agree @Moritz and I respect the ownership of the content anyone creates. Being a Photographer, I'm very well aware of the copyrights. As a matter of fact, this is a 1958 documentary for film rolls which I think uploader didn't create. Here is the link for your reference, do read the description of the video: https://www.youtube.com/watch?v=UJ6w1esVcoY

@NKAPOOR I see. In that case, there's no use in contacting the uploader anyway, as I find it very unlikely the he holds the copyright and if he doesn't, he can't give out any rights he doesn't have. If you want to use this film in any project of yours, you will have to find out who holds the copyright and inquire with them about the usage, which might prove quite difficult. What do you mean with 'use in your blogpost'? If you only want to showcase it, can't you just embed or link to the video? Legally it's still a grey area, but everyone does it and no one really cares to sue over that ...

If you live in the USA, depending on what you want to do with the video (e.g. if you want to review it or use it for educational purposes), your usage might fall under fair use, in which case you don't need to ask permission at all. However this depends heavily on how you use the video. I'm also not a lawyer, so don't consider any of this legal advice by the way

Thank you for the inputs. I really appreciate your views on this. As I said I do not want people to go here and there for all the links and videos. I try to make my own content and share it on blogpost so that reader is not jumping from one link to another. It should be one stop shop for the audience. However, this is something I can't create on my own as you know film photography is struggling to survive. I'm actually writing a blog on the recent announcement of Kodak to bring film rolls back so I wanted to share my views on efforts of making a film roll. I hope it make sense.

@NKAPOOR Well, I read in your other comment that you only intend to embed the video in your blog, to be honest I think you can just go ahead and do that. The thing is, people 'steal' content on the internet all the time and no one comes after them. Visit reddit at any given time and you will find tons of stuff that has been taken from some other place without giving credit. And what you are doing isn't even that, since embedding the video means your readers can still see the original uploader. There is no law against embedding videos, and no precedent case. TBC ...

This may not stay this way forever. A while back, someone in Germany has been fined for sharing a picture on Facebook, so I dare say this might eventually become more of an issue. However, in your case I don't think you have much to worry about. For once, the video you want to use is very old. The copyright is probably part of the portfolio of some large company that won't be bothered to sue anyone over uploading it to Youtube or embedding it in their blog. I dare say the uploader on YouTube didn't hold the rights either ...

Thank you buddy.. Finally I have completed my blogpost. if you wish you can check it here. And yes, feedbacks are welcome! :-)
http://www.nirmitkapoor.com/single-post/Return-of-Analog-or-Film-Photography


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Warning icon next to video file name in Adobe Creative Cloud folder?
Does anyone know what this little warning icon means? It's showing up in the Creative Cloud folder, and whenever I import the video into Premiere, pressing the play button does nothing. Thanks for the help.

Ok minutes after posting this question, Adobe prompts me with the following error:

It's unfortunate they have such a limitation.


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4 Camera Instant Replay
I am doing a live stream and would like the following video flow.  I am able to handle all parts of this except for the Instant Replay.  How could I accomplish the instant replay?
I have 4 PoE Pan Tilt Camera that output RTSP streams.  Currently I use OBS and take in the RTSP streams, do overlays and other stuff, and the stream to the internet.
I am in need of a solution that would allow me to be able to do instant replays of any camera with the overlay on it, and live stream this.


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How do I use green screen effects in cyberlink powerdirector and put the video in the green part?
I'm a noob, so explain like I'm 5 years old.

Hi Texas - please read the posts in the Related sidebar to the right. These are the ones that would come up when you asked your question. And this seems like a dupe of a few

Summarizing from How do I use the chroma key feature to replace a green screen background in CyberLink PowerDirector?:

Put the video or image you want to use as the background (what will replace the green) on Track 1.
Put the video that has the green screen on Track 2.
Double click on the clip with the green screen background to open in the PiP Designer.
Select the Chroma Key tab and then Enable chroma key
Click on the eye dropper button on the Chroma Key tab and then select the (green) color in the image or video clip that you want to replace/make transparent.
Adjust the sliders until the green completely disappears.

This video might help explain it better.


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FFmpeg transcoding libx264 set only one P-frame
I transcoding mpeg2 data to h264 via libx264 codec and need to create the following GOP structure:

I(IDR) P I P

I try to perform it with the following command:

ffmpeg -i INPUT -vcodec libx264 -g 4 -bf 0 -refs 1 -acodec copy
  OUT.mpg

Check results via ffprobe:

ffprobe -i OUT.mpg -show_entries frame=key_frame,pict_type
  -select_streams v -of compact=p=0

And received the following output:

key_frame=1|pict_type=I key_frame=0|pict_type=P
  key_frame=0|pict_type=P  key_frame=0|pict_type=P

As you can see the GOP structure is:

I(IDR) P P P

I think -refs 1 key has no effect.
Please explain how correct transcode it to necessary GOP I(IDR)PIP ?

You may have to use x264 standalone encoder with qpfile option.

-refs 1  means use (at most) 1 reference frame. P frames can reference P frames, so it will not affect GOP structure. You do set the GOP structure to 4 -g 4 and get a 4 frame GOP. So I'm not sure if i"m understanding the issue since -g 2 should be obvious.

Thanks to All for answers and explanations. But with -g 2. All I-frames will be IDR and we will receive I(IDR) P structure, but necessary structure is I(IDR) P I P. The third I-frame shouldn't be IDR.


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Should I be concerned about overheating when doing long render tasks?
I bought a new computer recently and I'm very pleased with how quickly and accurately it renders. In my line of work, however, I find that sometimes my queued render tasks add up to more than 20 hours. Naturally, while rendering, my new computer runs pretty warm. My question is if this heavy workload will decrease the life of my computer.
I would like answers to give an assessment of both mobile computers, such as tablets and laptops, and an assessment desktop computers.
Specifically, my new computer is a Microsoft Surface Pro 4. I've been using a USB fan to help keep it cool during these extended render tasks. Should I continue this practice or am I wasting my time?

Have you actually noticed any significant overheating? Not just as in 'the computer gets warm', but actual performans drops due to the heat or temperatures above the save operating temperature as stated by the manufacturer? Use CoreTemp to monitor your CPU temperature. If you are worried about damages caused by overheating, you can also set it to warn you or shut the system off entirely once it reaches a critical temperature

@MoritzLost I set the tasks, then walk away. I don't monitor anything. The only way I'd know is if there was a crash or error or something. I'll take a look at CoreTemp.

First answer to "My question is if this heavy workload will decrease the life of my computer."
Simply YES,
BUT any  work on a computer will decrease its life, but it does depend on the work being done and how intense it is, but on the other hand, computers are designed to work in different ways and workloads. Desktop Workstations like the HPs and Mac Pros are designed to run massive tasks and just chug away at the data, which is why you will see the pros using them in the big studios as they power they offer is fantastic. They can have 12 cores, tons of Ram, brilliant GPUs etc which a tablet cannot.
Now you can still get high powered desktops from the likes of home builds and retailers which will handle data happily and run all the time.
Tablets (including the Surface) are really designed to be a portable solution that is not a laptop and even though they have loads of power and do the job they are not really designed to sit and chug away at data for hours on end as the little fans and main boards are so close together and the heat that is generated can affect the components over time.
If it was me in this situation I would do my work on the Surface but I would have a desktop (HP, Mac Pro, home-build, etc) to send the work to render on over night and or all day and having the ability to upgrade or add in new GPU's more Ram multiple processors/cores will cut down render times about also increase your work as you can render on the desktop and still produce more work on the tablet.
Other option is sending the files to something like and online render farm to render them out and send back the finished product but this is a bit of a more expensive option specially if it is just smaller project and not rendering films like Pixar's Cars or Disney's Moana.
Obviously this all involves spending more money and have extra kit but it might prolong the life of the tablet and cut down render times etc.
Now this is all great in saying this but putting things into practice can take a long time to work out a good flow, I'm still improving my flows daily while I'm working.

In general, no you don't have to worry about it. Manufacturers will test their equipment including doing thorough thermal tests. In the case where you build your own computer, it might be a concern, but for the MS Surface, it's not. Most modern computers will actually either slow down the processor if it starts to overheat, or simply shut off the device.
There are rare cases where the manufacturer doesn't test thoroughly or some odd bug makes it possible to cause overheating in some odd circumstance. Also, if something obstructs the computer's fan causing it to slow or stop, you could get overheating. But for a new computer operating under normal conditions it should be fine. Mobile and tablet computers tend to be even better about this because they often lack fans.
Using a secondary fan is fine. Large network centers with lots of servers are cooled with huge air conditioners to keep things running smoothly. Whether a single table fan will help much or not, I can't say off the top of my head, but certainly keeping it in a climate controlled room helps.


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Video compression- how to prioritize one area over another?
I'm not sure if what I'm asking is possible, but here's the situation.
I have a video I have made for distribution on the Internet (YouTube, Vimeo, etc.)
The video clip is a composite of the following:

a person talking (shot against a green screen)
a city scene in a harbor at night; the bottom half of the frame is filled with moving water (the ocean)

So, when I compress this using standard settings, the waves are given the most detail (because they move the most?), and the person shows more compression artifacts.
However, ideally, I want the person to be kept in the highest possible detail, and the water to be compressed more.
The compressor itself doesn't have any settings for something like this, but since the clip is a composite, I was thinking there might be a way to compress the layers separately...  Can this kind of thing be done?
I'm using Davinci Resolve but I also have access to FCPX.

It would require writing code that executes x264 via API and sets higher quantizer for the macroblocks that contain waves and lower for the subject. I would just apply a soft blur to the offending BG areas.

This is an interesting question, but I don't think that you will find a good solution without changing your inputs (the video elements you are using). I'm not aware of any software that allows you to prioritize compression by area. The compressor itself usually makes all these kinds of decisions for you.
Aside from that, you said the magic (not good) word for compression: Youtube. Even if you could find a way to do the above, you basically give it all up when you upload it to Youtube, where they will run their own fixed compression algorithms that will ruin all your work.
I think there are a couple of things you can do (perhaps all of them in combination):

If you haven't already, try doing 2-pass compression, instead of one-pass. This will take longer, but the compressor will have a chance to analyze the video on the first pass, and that may possibly help improve your output a little.
Massage that water footage. If you can get rid of it completely and replace it with something else that causes less trouble, do it. If not, you can try things like:

Apply some blur (either chroma [color portion of the signal], luma [monochrome portion of the signal] or both) to the footage.
It would also help to run the water footage through a denoiser first.

Both denoising and slight blurring should help reduce the amount of bandwidth that your compressor needs to dedicate to that area of your video.


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Canon video recording stopped automatically problem but new question not like the other ones!
On my Canon EOS 550D, I am getting this error. I know the problem is about speed of sd card. Well my sd card is not fast but I am also using adapter. I mean I originally have micro sd card but I am using adapter to make it big to put it in my camera. So the question is if I get fast micro sd card and use the same adapter will the problem be solved? My logic is if adapter effects the speed then even if I use fastest micro sd card it won't work well. I am using micro sd card to see my photos on my phone by easily putting it in. So what is your recommendation for me?

Typically the problem likely isn't the SD card speed. Depending on the camera it's likely limited because of file size or import taxation.
Most cameras use FAT32 as the file system on the SD card, which caps you out at 4GiB, so when you record enough footage to slam into that ceiling the camera will stop. Based on the Canon 6D we have in the office you can do ~10-15 minutes (depending on motion) at 1080p24 IPB mode, or 3-5 minutes
in All-I mode.
Some cameras work around this by using AVCHD, which allows for longer clips to be spanned across multiple files (DVDs and the GoPro use a similar trick) but because AVCHD is an established system and specification it does constrain the formats and bitrates that can be recorded at (e.g. Canon's All-I mode can hit 70+MbPS but AVCHD tops out at about 28MbPS), and it uses MPEG-TS to store video which is a bit less intuitive than classic MP4/MOV files.
Other cameras work around this by using exFAT for the SD card file system, which allows for files greater than 4GiB, and can be read and written by both Windows and OS X. However Linux support is a bit spottier.
Now the ultimate question: why don't all cameras use one or both of these systems? The answer: money. exFAT needs to be licensed from Microsoft, and AVCHD from the AVCHD consortium (Panasonic and Sony; hence why those cameras most frequently feature AVCHD modes).
Then there's import taxation. Some countries classify any device that can record for 20 minutes or longer a "video camera," and thus are taxed differently on import. So some camera manufacturers will just stick with FAT32 to save money on both licensing and import tax, as it naturally restricts record time at higher resolutions, with recording limits imposed in software at lower resolutions.

Both the adapter and the SD card have a maximum transfer speed. If the bitrate of your video recording exceeds that limit, the camera can't record and you get an error. You can check the specifications of the manufacturers of the adapter and the SD card to see how fast they are and find out which of them is your bottleneck.
However, I really recommend just getting a decent SD card. You can get good Class 10 or UHS 1 cards with 32GB~64GB for 10~20€´.


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How to extract text from video
In youtube there are videos which includes texts. For example,

. This video consists of texts, I was wondering if it is possible to get all those texts into a doc or text file. Is there any such program or online service available?

Automated text extraction from video is still an emerging technology.
There is a Microsoft public preview of Azure Media OCR that will attempt optical character recognition at a configurable sampling rate. Using this tool requires programming knowledge.
Another option is an open source proof of concept from a research paper, LOOV. You will need to compile this from source.
This post describes a workflow for automatically extracting screenshots to stills and then running OCR on the stills. You could probably adapt this workflow to other tools besides what are described in the post.

You might want to look up "OCR" which stands for Optical Character Recognition. There are many programs that can do it from a still frame. At worst, you could choose specific frames from your movie to pass to such an application.


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How to setup indirect lighting for video
For doing blog style youtube videos, I get a headache if the soft boxes are pointing at me from next to the camera. I'm thinking that I could solve the problem by flooding the room with indirect lighting bouncing off the walls and ceiling. Is this practical? What kind of equipment would be best without spending a fortune?

Softboxes should be 45 degrees off axis and also above your eye level rather than at your eye level.  The should be able to light up your face without you staring directly into them.

A bounce card might save your eyes some, e.g.

Depending on your "studio" you could also just turn the lights away from the talent and towards a wall or the ceiling to bounce and diffuse the light off the surface.

Yes, Jim, that's a proven approach.  You may find that if you illuminate the ceiling a little more intensely to one side and back a bit you can get a very pleasant subtle modeling on yout features.  You can use the bounce technique to get video-worthy and natural looking soft lighting out of multiple hard sources like PARs or LEDs all pointed up.
If possible you may like to use a single small hard source as a "hair light," just a bit back of directly overhead, to help kick you out from your background.  Getting controlled background lighting is another potential benefit of bounce lighting, especially if you're in a relatively small room.
And if your ceiling or wall is colored you'll want to look carefully at your color balance lest you pick up a tint.  Something like Mr. Kennedy's white card may be required.
One other tip I've heard referred to as "the Ray Walston technique" after a TV actor who had notoriously sensitive eyes: Lighting-induced eye strain has more to do with contrast than with absolute intensity... so if the bright lights are hurting your eyes, rather than turn them down, turn the house lighting behind them behind them up!


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Unhappy with wedding videography production - want expert opinions to provide an independant view
I recently got married and i'm very unhappy with the finally product by the videography firm who basically feel the case is closed.
I am looking to take these to court but want some additional videography experts that can provide a 'second view' that is independant and free of prejudice.
I am based in England, UK - can someone recognise some offical professional videography guilds or societies that can assist with this?
I essentially want them to view the video (from a professional aspect) and give me a detailed description of problems/defects with both post & pre video production. The video's in total are approx 90 minutes long, any advice on the matter would be appreciated.
I could add the video here but as it will likely go to court i'd want to have the video hosted privately (and not here for the whole world to see)

This is going to be a hard one. I am a wedding videographer myself and there isn't really a guild or similar (well there is kind of but there are no requirement to be joined to one in the UK).
Now this is the awkward bit. I am going to assume that you hired this company based on their previous work and that you were happy with how it was filmed, edited and sold to you via phone, email, website, in person, etc AND you have raised the issues with them and tried to get it resolved with them first.
Now assuming the above and the company has filmed your wedding and produced a product that meets the spec provided in your contract with them, it might be hard to take them to court, if they have not produced to the spec described in any of the communications with you and or contract that might have some options within to raise a complaint.
What is actually the problem with the video, is it not like ones on their website or what has been described to you? would you be willing to upload it to the likes of Vimeo and make it a private video for someone to look at?
they would need to know exactly what you are not happy with and or where to look for issues.
Also you might find in the contract there is a statement advising that the creative control with editing is down to the company and not the client or something similar.
I hope some of that helps

Hi Adam - the problems are actually too many list... my appendix of issues is too huge for these comments.... it is an example of someone not putting any effort into their work, i have gone through their finished video and even put the exact timestamp of each issue to make it easier for them, yet the videographers do not actually respond in relation to any of it.
I've had one videographer expert review this and even they state it is well below the standard he would expect (this was an independent review of someone with 20yrs experience)


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Setting format to H.264 in After Effects
I'm currently attempting to render a video for Youtube in Afters Effects CC 2017. However, I can not find the format option for H.264 in the output module settings. How can I find or activate this?

Here is a step by step guide to show you how to export H.264 from After Effects CC:
https://www.rocketstock.com/blog/exporting-h264-video-in-after-effects/

I would not recommend trying to output your AE Comp using H.264. Unfortunately, regardless of the settings, you will get less than desirable results (typically terrible).
The proven workflow / best practice in terms of output is:
Under your Output Module Settings:
Render out using
Format:     Quicktime
Format Options Button -> Video Codec:    Animation
Quality:    100
Options: You can select your Channels as to include or not include Alpha along with RGB. Including Alpha will increase file size.
Audio Output: Check if needed.
Now this will output your composition to a lossless QT Animation file, which yes, will be very large, especially if you include an alpha channel. But the output will be perfect in terms of what you are seeing in AE.
NEXT...
Use AME (Adobe Media Encoder, or import the file into Premiere Pro and Sequence the comp), and render out using export/AME and H.264 using the MP4 option.
NOTE:  There is absolutely no need and I don't recommend using the QT in premiere either. Use H.264 MP4. Again, H.264 and MOV simply are not friendly within the CS suite.
However, after you have rendered out your H.264 MP4 at the desired bitrate and resolution; if you need the file to be QT compatible, or the client specifically wants an MOV file, simply change the extension from "FILE.mp4" to "FILE.mov".
There is absolutely zero difference file structure wise, the MP4/MOV is simply the wrapper for the H.264 codec.
This will give you perfect outputs every time.
Hope this helps.

i second the "terrible results" with h.264 inside AE. What you described is the best solution. I always use the animation preset as well.


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Does a higher bitrate impact video EDITING?
If will a high bitrate video be easier or harder on a video editor than a low bitrate video?

Well to answer everyone's question. I meant: While editing video on a timeline, scrubbing through it is slow. My i5 can't seem to handle going from one frame to the next without taking awhile for it to show it on my preview window. I'm wondering if lowering the bitrate, or if lowering the video's recorded resolution will make moving around the timeline on the editor faster.

The above answer by Adam is not really accurate...
There are different bottlenecks to consider.
Bitrate x Time = Size of File. means Higher Bitrate requires Faster Hard Drives
Compression / Codec / Ratio of Compression is either processor intensive, gpu processor intensive, or both (depending on your GPU/editing software). Adobe for example, makes use of NVidia's CUDA cores for faster decompression and encoding of compressed files.
High Bitrate, such as lossless, uncompressed, etc, will require high throughput (Fast Hard Disks, from SSD to SAS RAID/Etc) to handle the data rate of the video file to play in real time.
However, uncompressed video requires less CPU processing power, because the CPU does not have to "uncompress" the file.
If you are editing for example, H.264, highly compressed at a variable bit rate, your bottle neck would be your CPU and GPU (if you are using a system which uses your GPU for video overlay output).
In general:  If you have a fast RAID HDD setup, editing uncompressed is far smoother, more responsive, quicker to render especially, than working with a compressed codec. EVEN with a slower CPU/GPU - simply because the CPU/GPU does very little work / calculations to decode the file.
If you are working off a single spinning drive, you'll be limited to the 110 MB/s bottleneck (bi directional) so having a faster CPU and GPU would be the way to go with compressed files.
If you have 2 SSD's of equal size, and can SATA port them to your Motherboard, create a RAID 0 and you should get roughly 1 GB/S read speed. I have 4 SSDs in RAID ZERO on an Intel RAID card, and get 4 GB/s - zero lag at all.

To clarify, i'm referring to "playing or scrubbing" through footage while i'm editing it. Assuming a constant frame-rate, and constant bit-rate video. In my case i am using MP4 clips.  The harddrive things makes sense, but i have an SSD so not really worried about that aspect of it, nor am i worried about space. thank you for your answer

If you are editing MP4 the file is compressed, likely in H.264. So your responsiveness in terms of scrubbing, or using a jog shuttle, would be improved by 1.) CPU, both fastest clock speed and max cores. 2.) GPU that supports MP4 decompression with as high a clockspeed as possible, and if Nvidia based, max CUDA cores.

What about software such as "adobe after effect" or "davinci resolve - fusion" , and specially the second, they use high amount of ram, how much impact graphic card bitrate have on them?

How much bitrate is needed or enough

Bitrate is the amount of information contained in the video file. now I think the question is a bit vague. I assume you mean which will affect your computer more for editing.
More bitrate will mean a more beefy computer (CPU, GPU and HDD passthrough) to edit so it can handle the files.
Now if you have a high bitrate file and it is struggeling to play due to computer specs you can convert it to a proxy file which is a low bitrate of the file to make it easier to edit and then relink it later to the high bitrate file for final export.
Hope that helps


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GoPro Hero 5 Session camera for long shot (crowd shot)
I am asked to shoot noncommercial event, which will last several days. I have my usual camera for close and middle shots (Lumix G6), and I am thinking to by cheap 4K camera for long shots (crowd shots) and cut peaces of them after.
I heard that GoPro Hero 5 Session are capable of recording in 4K, but will it be helpful in this case? Or maybe there is better solution quality/price for long shot?

When you say "will it be helpful" what exactly are you asking? You might get better answers by being more specific.

To be more specific, it's requires to have more experience in this topic. If I had an experience in this specific topic, then the question would not be needed. I don't know about any pitfalls (underwater rocks), so asked help from more experienced people.

That depends on what you want to use the footage for, what's the end medium, what's the expectation on the footage and what the client asked for. More information is needed, to answer this question

Yes, useful for wide crowd shots.
Yes, you can crop down/scale up 1080p selections from the 4K to simulate additional camera angles.
Consider using the gopro app or a wifi remote to stop/start the gopro so you don't have to physically access the device while monitoring your main camera(s).
Not sure how long the event will run for but you might want to look at an external USB power source too.

Whatever camera you go with, keep in mind that 4K sensors run hot. I would run tests, under above normal room temps, you will likely want to run a small fan over the camera, overheating will shut it down.
But a camera like the HERO 5 would be fine, tethered to a computer with a HDD that can continuously record... just keep it cool.


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AVID: Mxf with Metadata
After importing a mp3 file into avid a mxf file with the audio
content gets created.
Sadly all the ID3 metadata informations get lost (not transfered to the new mxf file).
Is there a way or option to transfer all id3 tags to the mxf file?

Descriptive metadata in MXF files isn't well standardized. What are you trying to accomplish?

I would like to export and read the id3 tags from the mxf file in order to get artist and title.

Do you have Interplay or another MAM? I'm not sure there is an automated way to do it with embedded metadata. You might need to export the tags to a sidecar XML.

Do you care about portability of metadata? You could just add some custom columns in the bin and add your metadata there.
If you've never made custom columns you just scroll all the way over to the right, click on the column header, and type in the column name.


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Getting Dailies out of the Middle East
Asking for a friend.
We're presently scouting locations in Jordan for a feature shoot, it'll go about five weeks. We're shooting with an ARRI Alexa and generating ArriRaw dailies. We're working with the idea that we'll be generating about half a terabyte of dailies a day on the high side, including multichannel sound. We're cutting and doing post in Los Angeles.
What is the most reliable way of getting the dailies out of country? The last time my friend shot in the area he shipped his dailies out and they were impounded for months by customs, and under the current regime we have no idea what would happen and we want other alternatives (it also doesn't help that Jordan now borders a hot war zone). We're toying with shipping to Europe and from there ingesting into AWS, anyone have any experience with that?

I was going to suggest AWS. Not sure about crazy customs stuff. Try https://travel.stackexchange.com/

There must be a special media visa you can apply for. Then bring all the dailies with you when you leave, instead of shipping them. The big media companies must have some sort of fast track.

Have you considered any file transfer accelerators like Aspera or File Catalyst?
They use a different network protocol to send your files over and give you significant transfer speed gains.


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Open Broadcaster MOV to MP4 conversion
I just used OBS to record an MOV file (4k screen recording). Now I'm having trouble opening it in Premiere. When I import it into Premiere, I get only the audio (no video). File opens fine in VLC, but when I use VLC to convert to MP4, one of two things happen:

I get an error
I get an empty file

Furthermore, I tried Adobe Media Encoder, and I get an entirely black-frame file - I can see the black frames in preview, even.
Can someone help me figure out what's going on? I have no idea what codec OBS uses - it doesn't show up in Properties for the file.

What is the error that you get? Can you open the file with MediaInfo and post everything it reports when you go to View -> Text?

Possibly the same issue as here.

Are you using OBS Studio? If yes, you should try OBS built-in convertor to mp4. Use File->Convert Recording.

This happens reasonably frequently with Premiere.
The most common fix is to go to your media cache (C:\Users\\AppData\Roaming\Adobe\Common\Media Cache Files on Windows) and delete all of the files. This will require Premiere to re-generate the preview files when you open your project the next time, but it usually fixes any audio/video related problems.

This does NOT fix this problem, its a codec issue.