text:
Editing involving several backup drives: how to assemble a project with minimal clip duplication?
This question might be a little complex, but here's the situation:
We are a small team and we shoot almost every day, we do correspondence-type shooting. We are backing up our footage to external encrypted drives, there are three now. When I edit, I pull the folders that I want in the edit from the backup drive onto my Editing SSD drive. Because we shoot in MXF and MTS, I usually then transcode everything to ProRes. After that, I delete the original MXFs and MTS' to conserve space.
With this, I end up with duplicated clips on my editing drive. When I edit in Final Cut Pro X, I choose several clips from these folders to be in the final edit from inside the FCPX, and after I render, there are unused, but linked files left behind. I have no way to automatically delete what was not used, and I don't want to delete the folders with transcoded footage if I were to revise the project at a later date.
Is there any way to delete files not used in the timeline? How do I conserve on space? Is there anything in my workflow that could be optimized?

I am not sure why you end up with duplicates. However you might be interested in having a look at the proxy workflow from Felipe. It probably can help you to get rid of duplicates and conserve space.


text:
Dash, Hls and pure Media Source Extension chunkless options
i'm experimenting with dash-media source extension and purejs-media source extension and i have seen i have the choice between chunked and inline fragmented videos.
My questions is what codecs are support inline fragmenting, i mean that i have only one file per resolutions and bitrate and one ore two audio files (and no billions of chunks;)) and which ffmpeg options i must use for the options:
I hope and prefer free codes like vorbis,vp8,vp8,ogg,opus and so on and hope all containers (webm) can produce one-segmented-single-files:).
Thx

what you are calling inline fragmented videos are just the chunks concatenated into one file, The manifest then records the start position and length of the chunk. The "billions of chunks" tend to be more performant on a CDN.

source: Stack Exchange

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

sort: votes


text:
How to add typewriter effect in Davinci Resolve or Fusion?
I know that Adobe After Effects allows adding typewriter effect to text in videos but how to do the same in Davinci Resolve or Fusion?

In the Text+ tool there is a control for write-on that does exactly what you want. To quote from the Fusion 9 Tool Reference:

Write On
  This range control is used to quickly apply simple Write On
  and Write Off effects to the text. To create a Write On effect,
  animate the End portion of the control from 1 to 0 over the length of
  time required. To create a Write Off effect, animate the Start portion
  of the range control from 0 to 1.

When they say Write-On, unfortunately they don't mean the hand writing effect more commonly called write-on (I got too excited when I first saw it), but rather what you called the "typewriter effect". Video tutorial here

there is also a template on motionarray that you can nab for $30 a month along with thousands of other assets https://motionarray.com/davinci-resolve-templates/typewriter-pro-584810/

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

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


text:
How to make 1:1 ratio video in Davinci Resolve?
I want to make 1:1 ratio Instagram videos using Davinci Resolve. But I am unable to find how to change the aspect ratio to 1:1 using Davinci Resolve.

You can do this by going to File>Project Settings...  Under the Master Settings tab on Timeline resolution choose Custom and change For 1920x1080 processing to For 1080x1080 processing.

I would try to make a 1080x1080 (1:1) and import your 1920x1080 footage (I'm assuming) and scale the footage to your liking. You either can use part of the footage (crop to fill 1:1), or fit the whole 1920x1080p video within the 1:1 ratio square (it will show black bars).
edit: look at this video for Davinci Resolve Image Scaling...
Look into image scaling preset in Project settings / also click here for DaVinci Resolve tutorial.
To change the scale of your video/images in the Edit Page, you'll need to open up the Inspector (top-right corner)

Link's broken.  I agree with your answer, but I would encourage you to provide specific steps and not rely on external links.  DaVinci's UI is not very friendly or intuitive.  So, for example, instead of just "make a 1080x1080," something like "make your timeline 1080x1080 by entering  those values in the 'for processing' field of the 'Timeline Format' section of the 'Master Settings' tab of the project settings. Also, be sure to click 'Don't Change' when prompted."

The link is not broken, you just have to copy and paste it. Next time I will include that in my directions.

Copying and pasting in my browser doesn't work either.

When you're copying links from youtube, you should copy the one from youtube's "share" button.  It will look something like 'h t t p s ://youtu.be/XXXXXXXXXXX'.  Then to make the link inline on stack exchange, use the icon that looks like two links of chain, just to the right of the italics icon.

Sorry, I hadn't realized that you are new here.  Welcome to Video Production Stack Exchange!  You should be able to edit your answer by clicking the "edit" button below it.  Although, to be honest, I don't remember if you need to earn more reputation first.  I can edit it if you want me to, I just need to know what video you were trying to link to.

Ok, I fixed the link, but the original question is about Davinci Resolve, and the link you've supplied is for Premiere.


text:
Choppy reversed video in premier pro
Using Premier Pro CC and through the speed/duration menu i have reversed the clip and it plays back choppy but also exports as choppy. Dont know WTF im supposed to do with that. Was trying to change field option and change and time interpolation in different combinations but its not working, video is still choppy.
Im using GPU acceleration.
Hardware: GTX 1060, 8GB RAM.

Is you timeline setting the same as your video file, in terms of framerate and size? And you should also change the timeline interpolation to optical flow.

Is the codec you're using all-I-frame? H.264 encoded footage in particular creates problems for playing in reverse. Does it render out choppy, or is it only while previewing?

I am not an expert at all, but i tried right clic and " render and replace" for the specific reversed part,
it worked.

Convert the reversed footage to ProRes, see if it fixes it.
If it doesn't, switch to software only render, and see if this fixes it.
Delete the cached files around the problem section each time.
If it's a big complex project, render the reversed bit only in software, then insert the exported reversed files and switch back to hardware rendering.


text:
Use of big name apps in a commercial video projects
Does anyone know the legal side of including obvious brands such as Facebook/Instagram in commercial video projects? Or replicating a Facebook messenger motion graphic? For example, visuals of Young adults scrolling through an Instagram feed or typing into messenger to promote sharing of content? Are their licenses for these things or is it fine to use without in video projects?
Thanks in advance.

You'll probably get better advice on https://law.stackexchange.com/

I'm no legal expert, certainly - so do take this 'advice' with a pinch of salt - and I'm not sure what you mean by commercial, but I'd probably err on the side of caution and, instead of replicating a Facebook post exactly, just do an approximation of it with motion graphics if you've got the time/budget.
To be honest, though, unless this is going out on TV, you're probably fine to use FB/Insta/Whateveragram provided that you're not suggesting that you're affiliated in any way and that those programs aren't the cause of crime/immoral action in the film.


text:
Replacing I-frames in h265 stream
I'm trying to follow this tutorial: https://www.reddit.com/r/brokenanimegifs/wiki/tutorial
Everything works perfectly. On the basis of this tutorial, I even created my own little tool. It just removes original I-frames and replaces with new one, all works fine with h264 (libx264).
Now I want to repeat this on the basis of x265, as it has a better algorithm for detecting motion and smearing the picture. But unfortunately, nothing works! I tried about such coding options:
 ffmpeg -i source.avi -vcodec libx265 -an -bf 0 -x265-params no-pme:subme=1:\
 no-weightp:no-constrained-intra:no-temporal-layers:no-temporal-mvp:no-open-gop:\
 crf=15:bframes=0:radl=0:ctu-info=0:rc-lookahead=0:gop-lookahead=0:\
 lookahead-slices=0:lookahead-threads=0:b-adapt=0:bframe-bias=0:no-b-pyramid:\
 force-flush=1:frame-threads=1 -t 30 -y result.avi

But it did not help.
I learned that x265 has many types of I-frames, I suspect that it's all about this. I can replace only the first I-frame in file, it works as before. But I can not change any other I-Frames and get the error in place of replacement, errors like:
  [hevc @ 0xb372940] Could not find ref with POC -60:00:09.17 bitrate=62974.5kbits/s dup=2 drop=0 speed=9.14x
  [hevc @ 0xb372940] Could not find ref with POC -12:00:20.56 bitrate=62974.5kbits/s dup=2 drop=0 speed=10.2x

Do you think you can repeat this with x265? Here exists any options to force IDR-frames and disable advanced coding techniques?

Use the last command in this answer to identify HEVC IDR frames and try to alter only those.

Thanks! I seen this post before, but I have opposite task: find I frames in stream (done at container level), RE-ENCODE this frames, inject in original streams, subsequent frames refer to the coded keyframe and for some reason an error occurs. I understand that the encoded frame, which I substitute, clears the buffer, but it should not be. So I'm looking for a way how to encode each frame sequence (GOP) most independently.

Yeah, my answer will help you "find I frames in stream"  - only the IDR kind. For the remaining  Don't know of a direct option to suppress x265 from generating CRA/BLA frames. It could be a side-effect of some other options.

Actually I parsing AVI container at byte level. I want to change ANY I-frame, as start every new scene in file. It will be perfect to force IDR-frames at new scenes.

I think, I-frames in x265 is dependent frames. According to this: http://dustsigns.de/CMS/wp-content/uploads/HEVC.pdf - page 18, I need CRA / BLA / IDR only for frame replacing.

After seeing some of the examples it wasn't clear why it would be a good idea to do this, usually the result is a mess; then I saw this example: https://i.imgur.com/3Yrajz0.gif where it really worked out great. I think you need to follow the tutorial exactly, using a different compressor is unlikely to duplicate the results. I found this Patch to suppress that error message: http://ffmpeg-devel.ffmpeg.narkive.com/7pHRUyTF/patch-avcodec-hevc-refs-silence-could-not-find-ref-with-poc-for-cra-bla - Changing too much is likely to affect whether or not it will even work. Good luck.


text:
Splitting files automatically
Does anyone know of software (preferably free) which can be used to divide up a video or audio file into a number of smaller sized pieces at regular intervals? (e.g. to turn a 3-hour video file into nine 20-minute video files)?

FFmpeg's segment muxer is designed for this.
ffmpeg -i in.mp4 -c copy -f segment -segment_time 1200 -reset_timestamps 1 in%d.mp4

Output files will be in0.mp4, in1.mp4...
Since the video keyframes in the source file may not be present exactly at the start of each 20 minute interval, the output segments won't be exactly 20 minutes each. Expect a deviation of a few seconds.

Try avidemux. Alternatively, if you're comfortable with command-line tools, you can use ffmpeg. Here's an answer from Ask Ubuntu that shows how to do it.


text:
Make white background in MP4 movie transparent
I have a short animation clip made with PyMOL software (visualizing molecules), in the MP4 format. I am going to use this animation in future presentations, and it would look much better if the background was transparent. Is there an easy way to achieve this? I am working on a Mac. Obviously free/open source software would be best, but I am interested in any software capable of this.
I also have the option in PyMOL to save each frame of the video as PNG files, which do have an alpha channel. But once I convert this to mpeg or MP4, the alpha channel disappears.

How do you intend to use the MP4?

For use in powerpoint or keynote presentations. The format is not important to me, any format that us not too large will do.

One has to wonder, what exactly do you want to show through this hypothetical transparent background? You mentioned presentations. Does that mean you want to paste it onto some kind of slide texture or solid color? What's wrong with the current background? A molecular animation would seem to require a simple, white or black background. Is that not what you have now? A screen shot might help us to understand the issue.

The MP4 format doesn't support an Alpha channel.  The question you've asked is very broad, and I've tried to answer to a certain extent below.  However you may need to decide what route you're going to try and then researching that route or asking further, more specific questions.
The file types that currently support an Alpha (transparency) channel are FLV, F4V, AVI, Quicktime, and WebM.  If you're using free programs, you may find they can export in these formats.  Often, there will be a named codec for an Alpha channel within the settings of these, or a PNG option.  Firstly, I would see if there's an option to export video within your PyMOL software in any of these formats - try exporting them in different ways to see if they have the Alpha channel.
Alternatively, if it's a one off video, you could use the free trial of Premiere Pro or After Effects to create and export your video, although it can be a learning curve if it's a complex project and you have never used Adobe Creative Cloud before.  Lastly, you could export your video and try and remove the background in a video editor. (If you want to use WebM, you need a third-party WebM codec for Adobe Media Encoder.)
PNG import /export
You could import the png sequence into either After Effects or Premiere Pro (free trials available for each).  I'm sure several free programs can import a PNG sequence automatically, or you could manually arrange the images on the timeline, one image per frame.
I mainly use Premiere Pro so below I've listed a couple of ways I can use it to export a transparent video directly from Premiere.  HOWEVER - there are likely to be similar options in other programs - most video programs will export in a variety of formats / codecs.
###Export a movie file with an alpha channel in Premiere Pro ###

Select the sequence.
Choose File > Export > Media.
In the Export Settings dialog box, choose one of the following
options:

Option 1 - QuickTime

Select "QuickTime" in the file format
Select "PNG" from the video codecs
Under Channels, select "RGB + Alpha"

Option 2 - Microsoft AVI

Select "AVI" in the file format
Select "RGBA + " from the video codecs
Under Channels, select "RGB + Alpha"

Once you have changed settings as per one of the sets of options above, continue to set other settings and click Export or Queue to export as you normally would.

Remove background
Another option is that if the background is a consistent colour - white, grey, green etc, most advanced video editors will have options to remove the background using a colour match.
In Premiere Pro, this is done using the Chroma key effect.  In essence, add the effect to the video, take a sample of the background colour, and the background should be removed, it's just left for you to export the video in one of the methods mentioned previously.


text:
Method of pasting "smoothly-typed" text for demo videos?
I often see in demo videos, whenever text is required to be filled in (such as when filling out forms), that the text is entered smoothly, not actually typed by the person shooting the video.
Wondering if anyone knows of a good method(s) of achieving said effect, as it looks much more professional than manually typing text while recording. I'm assuming there is an app(s) that allows someone to paste in text so that it is entered like this, but I can't find anything online so far.


text:
Frame rate in Premiere Pro CS5.5 problem
This is a unique situation. I started a new job and they have me using an old version of Premiere I'm not familiar with (5.5).
I have an mp4 that is 48.93 fps. It plays back fine in video players on the PC. But as soon as I import it into Premiere, the playback changes. The video is fast-forward but the audio is normal.
It doesn't matter what the sequence setting is, it still plays back with the video on FF. I tried rendering it and the rendered version is also FF (but again, audio is normal).
Any ideas?
Thanks


text:
Making video content for 30' x 10' 3:1 Widescreen
Looking for some help on how content should be created for an upcoming show with super widescreen blend on it.
The show consists of a 30' x 10' front projection screen with unblended resolution of 3840 x 1080. Video content is currently being created, as the projectors are being blended there is a 600px overlap, the resulting width is 3240px.
Should I get the content made in 3240px or 3840px?
Any help appreciated.

Since the resulting projected image is 3240 px wide, that's the size you should create. Then output two "halves" -- the leftmost 1920 px, then the rightmost 1920 px. There will be 600 px that appear in both parts. That's the overlap.

It depends on the play out and display system but generally, using Adobe After Effects, make a comp the full size of the raster, then render out a half size left projector and half size right projector. The blending will be done at the vertical intersection. So comp at 3840x1080, two half comps at 1920x1080 for each of the two sides. I would suggest talking to the display technician to be sure.

Sorry, but I'm downvoting you because this answer is wrong. You lose 600px from the middle where the blend is, because the two projectors overlap. The total width of the comp should be 3240. But good call for "talking to the technician". That is the best approach.


text:
How to speed up DNxHR HQX capture with ffmpeg?
I'm trying to capture DNxHR HQX to my SSD.  I want HQX because I need the 10-bit color for grading (HQX is a 12-bit codec, but HQ and below are all 8-bit).
8-bit HQ recording is no problem; I consistently get a 1.x+ speed, but 10-bit HQX recording gives me a 0.3x speed and almost instantly fails.
Is there any way to speed up the HQX recording, or lower the quality (I don't need full HQX quality; I just need 10-bit color.)
System info:

Windows 10 Home latest patches
ffmpeg latest version ("full" build that includes decklink support made using media_autobuild_suite)
capture card: Blackmagic Intensity Pro 4K
SSD: Sandisk Extreme Pro 960GB
Camera: Panasonic GH4

8-bit recording is fine

ffmpeg -rtbufsize 1500M -threads 4 -f decklink -i "Intensity Pro 4K@20" -c:a copy -c:v dnxhd -profile:v dnxhr_hq test1123123123.mov

Video stream:
    Stream #0:1: Video: rawvideo (UYVY / 0x59565955), uyvy422, 3840x2160, 3977334 kb/s, 29.97 tbr, 1000k tbn, 1000k tbc

Full output:
E:\>ffmpeg -rtbufsize 1500M -threads 4 -f decklink -i "Intensity Pro 4K@20" -c:a copy -c:v dnxhd -profile:v dnxhr_hq test1123123123.mov
ffmpeg version N-85597-gec07efa700 Copyright (c) 2000-2017 the FFmpeg developers
  built with gcc 6.3.0 (Rev2, Built by MSYS2 project)
  configuration:  --enable-avisynth --enable-libmp3lame --enable-libopus --enable-libvorbis --enable-libvpx --enable-libx264 --enable-libx265 --enable-cuda --enable-cuvid --enable-schannel --enable-decklink --enable-fontconfig --enable-frei0r --enable-libass --enable-libbluray --enable-libbs2b --enable-libcaca --enable-libfreetype --enable-libfribidi --enable-libgme --enable-libgsm --enable-libilbc --enable-libmfx --enable-libmodplug --enable-libopencore-amrnb --enable-libopencore-amrwb --enable-libopenjpeg --enable-librtmp --enable-libschroedinger --enable-libsoxr --enable-libspeex --enable-libtheora --enable-libtwolame --enable-libvidstab --enable-libvo-amrwbenc --enable-libwavpack --enable-libwebp --enable-libxavs --enable-libxvid --enable-libzimg --enable-openssl --enable-libsnappy --enable-gpl --enable-opencl --enable-opengl --enable-libcdio --enable-libfdk-aac --enable-libkvazaar --enable-librubberband --enable-libssh --enable-libtesseract --enable-libzvbi --enable-chromaprint --enable-libopenh264 --enable-libopenmpt --enable-netcdf --enable-sdl2 --enable-libzmq --extra-cflags=-DLIBTWOLAME_STATIC --extra-cflags=-fopenmp --extra-libs=-lgomp --extra-libs=-lstdc++ --extra-cflags=-DLIBSSH_STATIC --extra-ldflags='-Wl,--allow-multiple-definition' --extra-cflags=-DCACA_STATIC --extra-cflags=-DMODPLUG_STATIC --extra-cflags=-DCHROMAPRINT_NODLL --extra-libs=-lstdc++ --extra-cflags=-DZMQ_STATIC --disable-w32threads --extra-cflags=-DPTW32_STATIC_LIB --extra-libs=-lpthread --extra-libs=-lwsock32 --extra-cflags=-DKVZ_STATIC_LIB --enable-version3 --enable-nonfree --enable-filter=frei0r --disable-debug
  libavutil      55. 61.100 / 55. 61.100
  libavcodec     57. 93.100 / 57. 93.100
  libavformat    57. 72.101 / 57. 72.101
  libavdevice    57.  7.100 / 57.  7.100
  libavfilter     6. 84.101 /  6. 84.101
  libswscale      4.  7.101 /  4.  7.101
  libswresample   2.  8.100 /  2.  8.100
  libpostproc    54.  6.100 / 54.  6.100
[decklink @ 0000017864736440] The @mode syntax is deprecated and will be removed. Please use the -format_code option.
[decklink @ 0000017864736440] Found Decklink mode 3840 x 2160 with rate 29.97
Guessed Channel Layout for Input Stream #0.0 : stereo
Input #0, decklink, from 'Intensity Pro 4K@20':
  Duration: N/A, start: 0.000000, bitrate: 3978870 kb/s
    Stream #0:0: Audio: pcm_s16le, 48000 Hz, stereo, s16, 1536 kb/s
    Stream #0:1: Video: rawvideo (UYVY / 0x59565955), uyvy422, 3840x2160, 3977334 kb/s, 29.97 tbr, 1000k tbn, 1000k tbc
Stream mapping:
  Stream #0:1 -> #0:0 (rawvideo (native) -> dnxhd (native))
  Stream #0:0 -> #0:1 (copy)
Press [q] to stop, [?] for help
Output #0, mov, to 'test1123123123.mov':
  Metadata:
    encoder         : Lavf57.72.101
    Stream #0:0: Video: dnxhd (DNXHR HQ) (AVdh / 0x68645641), yuv422p, 3840x2160, q=2-1024, 200 kb/s, 29.97 fps, 30k tbn, 29.97 tbc
    Metadata:
      encoder         : Lavc57.93.100 dnxhd
    Stream #0:1: Audio: pcm_s16le (sowt / 0x74776F73), 48000 Hz, stereo, s16, 1536 kb/s
frame=  360 fps= 30 q=1.0 Lsize= 1282411kB time=00:00:11.97 bitrate=877018.5kbits/s speed=0.999x
video:1280160kB audio:2246kB subtitle:0kB other streams:0kB global headers:0kB muxing overhead: 0.000404%

10-bit recording times out almost instantly

ffmpeg -bm_v210 1 -rtbufsize 1500M -threads 4 -f decklink -i "Intensity Pro 4K@20" -c:a copy -c:v dnxhd -profile:v dnxhr_hqx test1.mov

Video stream:
Stream #0:0: Video: dnxhd (DNXHR HQX) (AVdh / 0x68645641), yuv422p10le, 3840x2160, q=2-1024, 200 kb/s, 29.97 fps, 30k tbn, 29.97 tbc

Full output:
E:\>ffmpeg -bm_v210 1 -rtbufsize 1500M -threads 4 -f decklink -i "Intensity Pro 4K@20" -c:a copy -c:v dnxhd -profile:v dnxhr_hqx test123123121.mov
ffmpeg version N-85597-gec07efa700 Copyright (c) 2000-2017 the FFmpeg developers
  built with gcc 6.3.0 (Rev2, Built by MSYS2 project)
  configuration:  --enable-avisynth --enable-libmp3lame --enable-libopus --enable-libvorbis --enable-libvpx --enable-libx264 --enable-libx265 --enable-cuda --enable-cuvid --enable-schannel --enable-decklink --enable-fontconfig --enable-frei0r --enable-libass --enable-libbluray --enable-libbs2b --enable-libcaca --enable-libfreetype --enable-libfribidi --enable-libgme --enable-libgsm --enable-libilbc --enable-libmfx --enable-libmodplug --enable-libopencore-amrnb --enable-libopencore-amrwb --enable-libopenjpeg --enable-librtmp --enable-libschroedinger --enable-libsoxr --enable-libspeex --enable-libtheora --enable-libtwolame --enable-libvidstab --enable-libvo-amrwbenc --enable-libwavpack --enable-libwebp --enable-libxavs --enable-libxvid --enable-libzimg --enable-openssl --enable-libsnappy --enable-gpl --enable-opencl --enable-opengl --enable-libcdio --enable-libfdk-aac --enable-libkvazaar --enable-librubberband --enable-libssh --enable-libtesseract --enable-libzvbi --enable-chromaprint --enable-libopenh264 --enable-libopenmpt --enable-netcdf --enable-sdl2 --enable-libzmq --extra-cflags=-DLIBTWOLAME_STATIC --extra-cflags=-fopenmp --extra-libs=-lgomp --extra-libs=-lstdc++ --extra-cflags=-DLIBSSH_STATIC --extra-ldflags='-Wl,--allow-multiple-definition' --extra-cflags=-DCACA_STATIC --extra-cflags=-DMODPLUG_STATIC --extra-cflags=-DCHROMAPRINT_NODLL --extra-libs=-lstdc++ --extra-cflags=-DZMQ_STATIC --disable-w32threads --extra-cflags=-DPTW32_STATIC_LIB --extra-libs=-lpthread --extra-libs=-lwsock32 --extra-cflags=-DKVZ_STATIC_LIB --enable-version3 --enable-nonfree --enable-filter=frei0r --disable-debug
  libavutil      55. 61.100 / 55. 61.100
  libavcodec     57. 93.100 / 57. 93.100
  libavformat    57. 72.101 / 57. 72.101
  libavdevice    57.  7.100 / 57.  7.100
  libavfilter     6. 84.101 /  6. 84.101
  libswscale      4.  7.101 /  4.  7.101
  libswresample   2.  8.100 /  2.  8.100
  libpostproc    54.  6.100 / 54.  6.100
[decklink @ 0000019b57ed6540] The @mode syntax is deprecated and will be removed. Please use the -format_code option.
[decklink @ 0000019b57ed6540] Found Decklink mode 3840 x 2160 with rate 29.97
Guessed Channel Layout for Input Stream #0.0 : stereo
Input #0, decklink, from 'Intensity Pro 4K@20':
  Duration: N/A, start: 0.000000, bitrate: 5304648 kb/s
    Stream #0:0: Audio: pcm_s16le, 48000 Hz, stereo, s16, 1536 kb/s
    Stream #0:1: Video: v210 (V210 / 0x30313256), yuv422p10le, 3840x2160, 5303112 kb/s, 29.97 tbr, 1000k tbn, 1000k tbc
Stream mapping:
  Stream #0:1 -> #0:0 (v210 (native) -> dnxhd (native))
  Stream #0:0 -> #0:1 (copy)
Press [q] to stop, [?] for help
Output #0, mov, to 'test123123121.mov':
  Metadata:
    encoder         : Lavf57.72.101
    Stream #0:0: Video: dnxhd (DNXHR HQX) (AVdh / 0x68645641), yuv422p10le, 3840x2160, q=2-1024, 200 kb/s, 29.97 fps, 30k tbn, 29.97 tbc
    Metadata:
      encoder         : Lavc57.93.100 dnxhd
    Stream #0:1: Audio: pcm_s16le (sowt / 0x74776F73), 48000 Hz, stereo, s16, 1536 kb/s
[decklink @ 0000019b57ed6540] Decklink input buffer overrun!itrate=874616.0kbits/s speed=0.313x
    Last message repeated 27 times
[decklink @ 0000019b57ed6540] Decklink input buffer overrun!itrate=874609.5kbits/s speed=0.319x
    Last message repeated 27 times
[decklink @ 0000019b57ed6540] Decklink input buffer overrun!itrate=874605.2kbits/s speed=0.324x
    Last message repeated 27 times
[decklink @ 0000019b57ed6540] Decklink input buffer overrun!itrate=896389.6kbits/s speed=0.327x
    Last message repeated 4 times
frame=   42 fps= 10 q=1.0 Lsize=  149610kB time=00:00:01.36 bitrate=895868.2kbits/s speed=0.327x
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What are the best codecs and encoding options for a image sequence video?
I am trying to make a video out of an image sequence -  Where each frame lasts for a second.
The image sequence contains the same object shot from different distances.
I'm guessing most default video converters optimize for motion, but in this scenario, I need to get the least file size without changing the frame rate.
Which codec (H.264, VP8, VP9) can give me the best size to quality ratio?
Also are there any flags for H.264 which I can enable to optimize for this case?

What software are you using and what format are your files?

@LetTheWritersWrite I'm using VirtualDub to make a .avi out of the video, and then handbrake to encode .avi to .mp4 currently. As for format, I'll need either mp4 or webm

I occasionally make a video from slide images. I find I get the best quality and compression by putting the images in the timeline in your preferred video editor (I use Vegas Pro 13), saving as a motion jpeg*, then use ffmpeg to convert that to H264. I use -crf 28, which is probably called "constant quality" in Handbrake. At 1024x768 resolution I easily get bitrates under 100 kbps and they look great. You can increase the crf value to get more compression or decrease it to get better quality, so you can fine tune to your tastes.
With this method above, I would bet H264 and VP8 are comparable. VP9 will probably be better, but it doesn't work on everything and takes a lot longer to encode.
My theory why this works:
Motion jpeg is intra-frame compression only. Each individual frame is compressed as an image, then added to the stream; there is no inter-frame compression (compression between frames). It doesn't have I-frames or any of that complicated stuff. So for a full second in your video all the frames are identical, not just "look the same". They are technically identical.
H264 then has a lot of power to compress the motion jpeg. It sees a string of identical frames then does the equivalent of saving the first frame completely then uses nearly dataless "reference frames" for the rest.

*Motion jpeg will be a relatively big file. Coincidentally, when I record a slides presentation, I initially encode as motion jpeg because most of the presentation will be static slides.

VP9 will give you the best quality-to-size ratio, but you can also get pretty good results out of H.264 as well.
In order to maximize the efficiency of compression, if each image is up for exactly one second (or exactly two seconds, or exactly three seconds, or exactly etc.) then you make the frame rate 1.00 FPS and tell the encoder not to use P-frames or B-frames (AKA "reference frames") and set your GoP to 1. After that run with Constant Quality encoding and use a rate factor that gets you an acceptable level of quality with an acceptable file size.

tell the encoder not to use P-frames or B-frames (AKA "reference frames") --> I-frames are the canonical reference frames. P and B frames are predicted frames and in modern codecs, also can serve as reference for other P and B frames. With a GOP of 1, there's no motion estimation/compensation and compression will be worse. Also, some players can't handle a video with 1 FPS. 5 tends to be the safe minimum. With x264, at least, identical predicted frames take very little space, So upping the framerate isn't a big issue.

An FPS of 1 is likely to not play, as already said, then would also not provide much benefit over something like 15. If 15 frames are identical, the right setting can compress very well.


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How do I encode videos into h.264 at 8k resolution?
I am trying to use premiere, but I wouldn't mind switching computer programs to accomplish my goal. h.264 is an amazing codec for exporting videos, it is the fastest I've seen yet. Same exact videos but in a different codec take 5-10 times as long to export. So I'd like to make videos with the h.264 codec.
Anyway adobe premiere only supports up to 4k when it comes to outputting with h.264, and that is because at the time, h.264 only contained max with of 4096 pixels or something.
Now, there is h.264 "advanced video coding", and I have videos on my computer, that are 8k, and are in this h.264 avc codec.
My question is, how do I convert to, or export in, a 264 video.
If I can't do this with premiere, can someone point me to a program that does it? I would be able to take a 4k video, with 8k esque bitrate, convert it to a 8k video, and it would look some what decent.
I know this isn't optimal, but please help me figure out some way to upscale into this 8k avc format.

Are you sure the 8k videos on your computer are actually h.264, and not h.265?  The max resolution of h.264 level 5.2 is still 4096x2305.  To convert beyond that in Premiere, you need to chose HEVC (h.265) as the format in the export settings dialog.  The HEVC stands for High Efficiency Video Coding, and you might have that confused with "advanced video encoding."  H.265 supports up to 8192×4320.  Upscaling your 4k in Premiere shouldn't be a problem, either.  I'd do it by changing the project settings to my desired resolution, then scaling the timeline video to fit, but you could probably also do it in the export settings dialog.

FFmpeg can use x264 to output to 8K.
Basic template:
ffmpeg -i 4KfromPremiere.mp4 -vf scale=7680x4320 -crf 20 out.mp4

Have you tried this? As per Jason Conrad's answer, I thought h264 had an aspect size limit. Not at a workstation w/ffmpeg to test this right now.

H.264 has no size limit. What it has is levels, where a level specifies a max resolution allowed, among other things. Those levels are for the benefit of players (esp. H/W players) so that they can gracefully decline to play a file beyond their capabilities, rather than stutter and provide a bad experience. But the bitstream syntax itself ha no upper limit and the x264 encoder doesn't, either. x264 will complain about the limits being breached, during processing, but encode anyway. Legally speaking (in tech sense), the output is not spec-complaint but software players will play it.

Other encoders, like Mainconcept, apparently refuse to encode a file which can't legally satisfy any level constraints. This looks to be the source of the belief that H.264 has a maximum resolution limit.

thanks - always a pleasure to read your very informative posts!


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Adding additional audio to a synced clip and having that sync via audio in Final Cut Pro X
In FCPX I can select a video and audio clip and do "Synchronize Clips" using the "Use audio for synchronization" option.
Now I have a new clip in the browser on which I can say "Open Clip" and then see the timeline with the audio synced to the video.
If I want to add another audio track into this synced clip, I want a way for the additional audio to be automatically synced too.
I can't seem to find a way to do this - is it even possible?

This is a long shot as I did not try it.
Try to use a Multicam clip instead of a Synced clip.
I know that it is possible to add another audio line to a Multicam clip and sync it inside the Multicam clip.


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How to get gauge with speed on video (GoPro telemetry imitation)
INTRO:
I am passionate for cycling and I want to make nice clips with my action camera.
I have Xiaomi YI action camera and I put it on a bar of my bike to capture ride.
PROBLEM:
I want to add speed information to my video.
I found that GoPro has built-in functionality for recording location information and video editor to put that data on video. And I want to achieve the same on my videos.
Here are some examples:
https://www.instagram.com/p/BReBvd2BI7X/

INPUTS:
I am programmer and I can create mobile app that will record location information during my ride.
Let's say I have information in any format needed, e.g. CSV (comma separated values):
Timestamp,Speed
12:10:01,30
12:10:02,32
12:10:03,33

I want to have gauge on my video that will show my speed. As I guess, real challenge is to make it consume my data.
I am familiar with Adobe Premiere Pro, but can also dive deep in After Effects it this will help me.

Try Dashware.

@Mulvya thank you, I checked it, looks realistic and easy.
This can be considered as answer.

You could also do it with adobe extendscript scripting and after effects.


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Final Cut Pro X to After Effects Workflow
Everybody is saying FinalCutPro to Motion5 is like PremierePro to AfterEffects. But its a fact that AfterEffects is more powerful than Motion5. So since I love the simplicity of FinalCutProX as my Cutter, for me the perfect solution would be using FinalCutProX together with AfterEffects.
Now does that make sense or would you better not do it like this?
If yes, how is your workflow to not loosing any quality of the clip by exporting to AfterEffects, editing there and exporting back to FinalCutProX?

To some extent it makes sense. Many effects programs aren't linked to the main NLEs. If you want to avoid as much loss of quality as possible, export at a higher bitrate than your footage was originally.

I jumped ship in the early days of the FCPX debacle, so I don't know if this is still a thing, but my FCP to AE workflow usually involved exporting timelines as XML to avoid intermediate renders.

It is certainly possible to use FCPX and AfterEffects as part of the same workflow.  To do this effectively, you will need to use an intermediate codec that preserves image quality across successive generations.  ProRes HQ 422 is a good baseline as an intermediate codec.  There are higher quality ProRes codecs (XQ 4444) and lower quality ones (ProRes LT 422).  But ProRes HQ should be a good starting place.

While Adobe and Apple each link their editing software with their own respective compositing software, saying 'AE is to Premiere as Motion is to FCPX' glosses over the strengths and differences of each package.
Sure, AE is a powerful compositing app, and it's dynamic link to Premiere is convenient, but Adobe is still playing catch up to Apple when it comes to application interoperability.
Say, for instance, you'd like to make a transition between two clips, and you'd like this transition to be a stylistic element of your production which you can re-use as often as you like.  This is something at which Motion excels and at which AE struggles.
After Effects is more powerful when it comes to a lot of VFX work, and its scriptability is a powerful feature which is unmatched in Motion.  However, I would argue that the "bond" between FCPX and Motion is stronger than the one between Premiere and AE.  But when you're talking about using FCPX with AE, there is NO link and you have to render bi-directionally.


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How make full width video screen of video

photo
show my video who is not full in width,can I make somehow my video is like 2. photo, full width video screen without empy space left and right?

If you're asking if you can increase the width of your video without increasing the height... Yes. But you can't do it without distorting the video, by stretching it horizontally.

this is ok, can you please tell me how i can do this?

What tools (programs) do you have available? On what platform (Mac, Win etc)? With what codec is your video encoded?

I don't have nothing, I use windows 10

I try today find movie maker but not find official website

You are referring to resizing the video.If you are using Windows platform you can use Windows movie maker to do it.Add your media file and switch to Project Tab you can set the ratio. only the two mentioned are available.
Wide Screen(16:9) & Standard(4:3)
If you are looking for a fully customizable Space,the free program recommended program is Handbrake
.Download it,install and run the program.

Choose the particular video clicking on the source button and navigate to it.
Next choose the destination for the output
Click on the picture tab and choose None from the Anamorphic dropdown list
Then adjust your height and width (Make sure you untick "keep aspect Ratio")
Finally click Start then you will see the adjusted video in the folder you chose for the destination output.

Check the image:
You can reduce the resolution too(Reducing resolution) with this tool.
Thats it, Enjoy:)


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What is the most user friendly projection mapping software?
I'm setting up a projection map for a non-profit that will have images projected onto angular and unusually shaped walls. I use modul8 on my mac in the past, but this case is different. They use PC (in fact their whole show runs off of a laptop) and they want the ability to change the images based on the theme of the show. They have an A/V guy, but I don't want to suggest complex software that is going to be hard for a beginner to use. What software should I recommend and then use to set up their show so they don't have to keep calling little old expensive me?
EDIT: I should also mention that this is a small non-profit, so free or really cheap would benefit them greatly.

If the venue uses Christie Projectors; I believe the projection mapping development kit is free (for Christie Owners/Registered Units).
I owned 2 HD 10K-M Christies for a while; and the projection mapping always intrigued me.
The mapping capabilities are pretty incredible. Here is a sample video showing just how amazing the Christie Projection Mapping software (with compatible Christie Projector) is.
AUDI PROJECTION MAPPING DEMO BY CHRISTIE
LINK: Christie Projection Mapping an Audi - DEMO
Obviously, depending on the angles of your objects, you will likely need multiple projectors to do any sort of wrap arounds.
Depending on the Venue, they may stock Christie or more than likely Barco units. Barco may have similar software now for it's high end projectors.
Keep in mind the projectors that do this (at the time my HD-10K units were 60K USD each); are high end. You won't get the mapping capabilities with simple conference/media units.

I'd hate to answer my own question, but just wanted to share what I found in case anyone else is interested.
PaintingWithLight has a feature rich demo that is very beginner friendly, and only costs a bit over $50 for a full license. Compared to other projection mapping software out there, this is an amazing bargain.
VPT 7 is completely free and feature rich, but not as intuitively user friendly. Luckly it comes with a pdf documentation with lots of pictures to walkthrough someone through every feature.
Dynamapper is a $5 app that also works, but requires some additional hardware (to connect a smartphone or tablet to a projector) and some 3d modeling experience.


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Can I modify the volume of a shot in the timeline of Premiere Pro?
I have imported a mp4 clip in my Premiere Pro CS6 timeline for which I would like to turn down the volume:

However, when I try and drag the Volume effect to the clip (or any other audio effect), I see a "forbidden" sign over the cursor:

If I go through the Clip menu the Audio options are greyed out:

I tried removing the shot from the timeline and dragging the effect to the file listed in the Project window, but it didn't do anything. When I right-click on the file in the Project window, a lot of options appear, but the modifications I do there do not seem to work.
How can I just lower the volume of this shot?

When you drag a clip into a sequence, PPro will show a video track (if there is video) and audio track(s) if there is audio.  If there is both audio and video, the tracks will be linked.
The volume controls are on the audio track, not the video track.  You can adjust volume both on a clip basis and on a track basis.  Buy volume is a meaningless concept on a video track (even if the video clip is linked to an audio clip).

I do not understand your answer. There is no option to unlink audio and video in the .mp4 file and the options from the project file's contextual menu do not work. Can you please detail what steps I should follow to lower the volume of this element on the timeline? Pulling my hair here :)

The audio from that mp4 should not be coming from the video track.  Are there more audio tracks in your project that you are just not seeing?  What are the clip properties?  What options are available when you right-click the mp4 clip?

For some reason, when I dragged the .mp4 into the timeline the first time, the audio track was clipped out, or not visible (maybe it was placed on another, off-screen audio track?) I tried dragging the .mp4 onto the timeline on another empty track and the audio and video contents of the mp4 were each placed separately in the timeline as they should. The problem is solved, but I don't know if it was a bug or if I just didn't see the audio track the first time (you can see in the question's screenshots that there is no audio track visible for the .mp4)

You probably didn't see the audio track the first time.  Or it got covered up by some other move.  It happens.  It's not a bug, just a mis-use of an Adobe Premiere Pro feature.

Yes, the timeline's height can be tricky to understand at times. If you reuse elements from my comments in your answer (for future reference/visitors), I'll be glad to accept it.


text:
Need a cover up for a face to make it more horror-ish
Would like to create some sort of mask during post to make a persons face look more towards the horror genre and wondered what would be the best way of doing this? It would only need a 2d image to animate over but wondered how to go about it?

Have you seen the new face-mapping technology in Blackmagic Design's Davinci Resolve 14 (announced at NAB on Monday)? It might make things easy for you. The beta version is available for free on BMD's website.

Check out this video tutorial, might help: http://www.videocopilot.net/tutorials/demon_face_warp/
To summarize: You need to motion track the face and stabilize the footage with this tracking data. Good tracking points are the corners of the eyes, nose, etc (the new face tracker might help but I haven't used it much). Once your footage is stabilized you can apply whatever you want onto your actor's face. Then it is a matter of pre-composing everything and re-applying the motion to that precomposition.


text:
Quality of time lapse from images
I'm planning on creating a time lapse from a series of still images. I plan to shoot the images in raw (Nikon NEF, Adobe RGB), then edit with Photoshop and export as jpegs (highest quality). I am planning on then putting them into an NLE (either FCPX, Resolve, or Premiere Pro) to turn them into a time lapse video.
I am trying to preserve the highest quality for the final video, so my questions are:

Is this the best way to preserve quality? If not, what is?
Also, what will the final quality be? (In terms of retained data?) ie: is there enough data retained, such that if I export it as ProRes4444 there will be more information than ProRes4:2:2? Or is there already such reduced quality that it won't matter?

I understand that this question may be poorly worded, but I believe it is on-topic and relevant, so please edit it or comment for clarification.

I normally do my timelapeses like so which works fine for me even on an older system, take pictures, edit in PS, LR, Photos export as a JPEG. import into FCPX, edit and export. I have also just dropped the direct RAW images into FCPX changed the timing and exported a full res sequence.

LR might be a better option as there are a few plugins that can create the timelapse within LR which might be better in some ways

@AdamMannPro I know it will work, I'm just want to know if it will give me the best quality and what that photo quality translates to in terms of video quality. Thanks for the LR tip, I'll look into it, but I often add other stuff to the time-lapse which is easy to do in an NLE.

you might be better off exporting TIFF's from PS as they have more data within them than a JPEG does (TIFF has less compression). you should be able to export from LR an image sequence or a video file at best resolution and then import that into your NLE to add the bits you want and export the final file

@AdamMannPro, good point, but export the final file as what? If I want to retain as much information as possible, do I need to use ProRes4444, or will 4:2:2 cut it?

Is this the best way to preserve quality? If not, what is? = a file which has less compression is better such as TIFF or PNG, JPEGs loose info during exporting

Also, what will the final quality be? (In terms of retained data?) ie: is there enough data retained, such that if I export it as ProRes4444 there will be more information than ProRes4:2:2? Or is there already such reduced quality that it won't matter? = depending on how much info you have taken in, if you have imported TIFF's exporting as 4444 would give you more data but also bigger file. also taking into account where it will be shown, YouTube & Vimeo compresses the file so depending on if your exporint 1080, 4K, 8K etc

I hope im making sense

Will the final video be 8K, 4K, HD or something else?

@user1118321 probably 4K, possibly up to 6k

You are approaching the problem at hand very well, you have however not used the most quality-preserving solution available.
I recommend that you take your raw image files and import them into Adobe After Effects as a camera raw sequence. This will let you work with the files directly in their raw format and therefore retaining the most quality. From there, you can choose to export in a lossless format if you so desire.
Using this method, you should see a better quality from ProRes 4444 than ProRes 422.

Best of luck


text:
Can I zoom in, manual focus, then zoom out?
I'm recording a top view of a drum machine with this camera: Panasonic HDC-TM40. I need to use manual focus to fix the focus.

Using manual is the only way to lock the focus, right?
I can barely see the manual focus with the little screen (and even with an external screen). May I zoom in, focus, then zoom out (optical zoom only)?

To answer your second question:
You can only use the zoom in, focus, zoom out if the lens is parfocal. Normally a parfocal zoom lens starts at 3000-4000 USD, thus I highly doubt the lens in this camera is parfocal.
Then again, how much of an issue this will be depends entirely on the lens, perhaps it won't loose a lot of focus or it will loose a lot of focus when you zoom out.
I'm not familiar enough with the camera to really answer your first question, but in general terms manual focus is the only way to lock focus. However, modern auto focus in certain cameras keep focus very well, but it isn't locked as such.

Thanks for that. I'm guessing it's not parafocal, but the manual focus is not that granular, so I'm guessing that I'm not losing much focus when I zoom out. Regarding focus lock: the autofocus goes mad in this type of filming, since my hands are moving on the drum machine... I want to fix the focus on the machine. Here's a video I did with autofocus, which is quite terrible (ignore the audio issues, too): https://www.youtube.com/watch?v=cB1I8WRsjrI&t=87s


text:
Filming in a house of mirrors
How do they film in a house of mirrors?  Obviously the reflection of the cameras would be seen.
Do they use a green screen and a lot of editing?
I really don't know anything about video production, but I was watching tv and it had me thinking..

One thing that you learn pretty quickly when you begin producing film or video, is that what looks right in a mirror in person usually doesn't look right to the camera. You end up having to place the mirrors at very different angles than you expect.
Fun houses/houses of mirrors are usually recreated on a sound stage or other set. Fun house mirrors can be rented and placed to accommodate production equipment. On screen, you will often see fewer mirrors than what might be used in an actual house of mirrors.
For instance in this Bruce Lee sequence, except for the final shot, you only see mirrors on one side of the actors. In that final shot, the mirrors behind Lee are obscured by other set pieces. The actors probably could not see the image of their opponent that they were punching in the mirror, everything was staged specifically for the camera.
Similarly, in this Key & Peele sequence, the mirrors are noticeably far apart, you generally see only one actor in a mirror at a time, and mostly only see mirrors on one side of the actors at a time.

Also answered here: https://movies.stackexchange.com/questions/2190/how-do-they-film-the-mirror-scenes-in-movies

Another way to accomplish this would be to simply use a one way mirror and only light inside the room of mirrors.  A one way mirror or half-silvered mirror (also sometimes called a two way mirror) is designed such that which ever side is brighter reflects light while the darker side can see through to the brighter side.
This is the same concept used in teleprompters to display text to a presenter while the camera only sees the presenter.
In the case of the house of mirrors, the camera would be able to see through the one way mirror, but within the scene, the mirrors would only see each other and not the camera or crew behind the mirror that is half-silvered.

One trick would be to not actually shoot it in such an enviroment, and then add the effect of mirrors in post. Probably easier than to try and hide a camera crew among mirrors.

That's definitely not practical and would take a Hollywood budget to pull off.


text:
Making a picture slide-show in Premiere Pro
I know using Premiere for slide shows is kind of overkill, but a lot of times I am working on a project with both videos and pictures, and it is much more convenient to use one program for everything.
Does anyone have any advice for any ways to automate any part of the slide show production (like the features in Windows Movie Maker or similar) within Premiere?

For a slide show in Premiere the only recomendation that I have is that you set in Preferences > General > 'Still image default duration' to the amount of time that you want a image to appear, so you don't need to adjust after you drop them on time line.
Set the 'Video Transition Default Duration' to an appropriate time is also helpful.
And to finish, don't forget that Control + d (or Command + d on OSX) can be used to apply the default transition to the selected clip or image.


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Cross dissolve error in Permiere Pro
I have a multicam project of 4 cameras. I did the multi-camera record which resulted in a single track sequence with the switching between the cameras. Then I applied the default transition to all cuts, which is the Cross Dissolve.
Although the right transition effect appeared everywhere, and in most cases it shows correctly, in some cases the effect works as if it was a Dip to Black (no, it's not coming from the footage). If I delete the auto-added Cross Dissolve transition and add it again manually, it works as expected. Is this a bug in Premiere?

Same thing with me. Did you found the solution?

You didn't mention which version of PPro you are using; but in version CS6 and prior there IS a bug with cross dissolve which is a bit idiosyncratic.
The fix; move all of your video (select all) up one layer.
Then add black video; or a color matte (black) which is the length of your program to the bottom (first) video track.
This in essence resets all the preview files PPro has generated; (which I believe is where the problem is).
If this doesn't work; you could try changing the default transition from cross dissolve to film dissolve... the visual effect is not "identical" but I don't think it would be a deal breaker if my first suggestion doesn't work for you.
Last option; you can pull the clips in; and out; using Trim; and make sure you make sure the dissolve rests on a new different frame on the timeline. + or - 1 frame to the left or right.
But yes; I have seen this; and it's why all our editors now cut starting on layer 2; and the last step of the process; is we lay black under the entire program before output.

I was having the same problem with the cross dissolve in a multicam track doing a Dip to Black in PPro CC 2017 April update. I saved my project, shut down PPro and restarted PPro, and that seemed to solve it for me.


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How to render a smooth timelapse from 30FPS video?
So here's my problem: I make timelapses from my cycling rides and the results are extremely shaky because the software picks frames linearly and sometimes I turn the handlebar or tilt the bike slightly, and the view is completely different to what it was the previous frame. This makes the video rather annoying to watch
So, I was wondering if there are some smarter algos out there that can 'smooth out' timelapses -- not in the motion blur sense (I suppose you can just average out the frames) but in terms of picking the right frames based on the delta changes between significant objects.
If there's some alternative approach to this, I'd be interested, too.

I ain't sure if this will work but better than nothing!
Here two of my approaches to this problem:

Warp Stabilization
Software such as Mocha, AE and many others have Warp Stabilization. What is means is that it can automatically stabilize the clip based on the frames and it somewhat relates to Machine Learning approach to Big Data.

Converting to 24fps
You can open in in a video editor and manually delete clips based on your own human ability to judge by looking at the previous and next frame. As we know our eyes can think 24fps as a smooth video clip, you may try this manual fix technique by deleting at 3-5 frames per second of your video!

Giving an opinion based answer, I think warp stabilization would render quite great results.

"our eyes can think 24fps as a smooth video clip" — nope, they can't. well, at least while the person is not intoxicated. the minimum fps is somewhere around 40..50, depends on person, but never as low as 24.

also, simple decimation of frames would make motion speed non-smooth and it will add more salt to the injury. even replacing frame with a copy of previous frame or a blend of adjacent frames would be better than simply removing it.

@SargeBorsch may you please mention some source? FPS in a video game is different from fps in video clips. Apple.com says: 24fps is also considered as the worldwide standard for movie theater film projectors.
You may further refer here: Reddit: Movies have 24fps and still feel extremely smooth whereas games under 30fps are literally unplayable

The frame rate in movie theatres is actually doubled, by displaying each frame twice. There are two different things going on there: persistence of vision allows most motion at 24fps to look smooth–though not really fast pans, ask any cinematographer–but our ability to perceive flickering is much higher, meaning that we can detect that a 24 Hz strobe is flickering, rather than perceive it as a steady source. So cinema projectors have a 48hz frame rate, but every frame is doubled, or in the case of older hand-drawn animation, quadrupled.

@InderdeepB. it's obviously visible, why need a source? yes, most movies aren't close to being smooth, that is a sad fact of life. I didn't mention games at all; 40 or 50 fps would be totally unacceptable for games.

@SargeBorsch it was an opinion based question. People across stackexchange always criticized opinion based answers. In my opinion, warp stabilization was the best thing one could do. However, depleting frames was a workaround for the footage. And in terms of fps, neither among my software (Nuke, AE & Blender) experienced any problem in the past doing things that were somewhat similar deleting frames.


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Color grading basics
I am fairly experienced with video editing, but I know embarrassingly little about color grading. Can anyone recommend any resources that can help me get started?
(I typically use Premiere Pro)

What do you want to learn about? How to color correct? Which software to use? How to choose a grading "look"? How to implement that look?

I would look at some of the tutorials on YouTube. There are plenty of them.
If you want to get into grading; you can jump right in as long as you are shooting RAW; or at the very least; 4:2:2.
If you're shooting 4:4:4; you have a lot of flexibility.
Resolve's DaVinci Line has some nice low cost entry options that include control surfaces; I personally use a Tangent Wave with Resolve to grade RED material; it's fast and very robust.
It's important you look into workflow, that is; are you applying filters; or merely manipulating the metadata XML; as with RED footage. Each camera/codec/software will have it's own unique pipeline in terms of how you grade.
I would invest in a Spyder; and calibrate your monitor. You want to grade in a room that is lit to 70% ambiance of your monitor's brightness. So your monitor shouldn't blind you. Your color temperature needs to match as well; so if your monitor is 5600K; make sure all the bulbs in your edit room are 5600K; or your eyes will play tricks on you.
But on YouTube there are plenty of in depth tutorials; just keyword davinci resolve tutorial and you'll see.


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5 channel video installation
For my graduation project (a spatial documentary installation), I need to find a system to play 5 different video's simultaniously, all connected to a projector.
So I have 5 projectors and 5 seperate video's.
I already tried the program Multiscreener. In this case I connected every projector to a macbook and every macbook ran Multiscreener. One macbook is the master and regulates the other 4 macbooks.
However, I was very depended of the network, and the wifi was not strong enough.
Is there any other solution to this? Of course, my budget is not big.
Thanks in Advance!
Julia
Royal Academy of Arts graduate

A Macbook pro would be about the most expensive device you could possibly use as a playback machine, but I'm guessing you didn't buy them for the installation…
There are several devices that are designed specifically for the purpose of video playback, for example these units by Brightsign. They're used in the museum where I work, and are popular for retail display. They can synch across networks.
An emerging competitor is the Intel Nuc, which his probably a bit cheaper than the brightsign. They're a bit more general-purpose than the brightsign, but they're becoming popular for exhibition displays and signage. The latest major installation that I did at work was a blended three-screen, seven audio channel video installation plays smoothly on a NUC with synched lighting effects. I'm not sure what the software is that runs it all, I just made the content.
Going even cheaper there's the Raspberry Pi, basically it's a small very cheap computer that has HD video playback capability. Whether there is software to do what you want it to I don't know. I know they are also used at my museum for interactive video displays, but I don't know if you can connect several to synch playback. VLC might be able to do it.
You'll probably find more options if you look for digital signage players. Like this one, about which I know nothing.

Being you are in school; you may be able to call around to local AV companies; who handle large screen projection for corporate events. You may find a company willing to let you rent for a low price; or even borrow a Playback Pro system; in my area (big metro area) a lot of the big AV houses have a lot of these machines; and many days they are not in use...
The best tool for the job would be a machine running Playback Pro. Which runs on Mac Only (unfortunately); however; it will give you perfect sync with literally unlimited outputs (based on the system they have and how many outputs they have it built for).
Another way to do it; and believe it or not it works pretty well; is if you can find 5 IDENTICAL model Blu-Ray players, or DVD if you are projecting in SD; and you master your program material to either BD-R or DVD-R; so that each video has the exact amount of leader (so basically they sync if they were all genlocked with actual hardware);  you can stack the players; load the discs and do the following:

Burn the discs with identical black leader (I recommend 5 seconds);
Load each disc in each player;
Press play. (Don't author with menus).
After all players are playing - press PAUSE using one (1) remote control pointed at all of the players (standing back a few feet so each player receives the IR signal).
After pressing pause - press the |<< back chapter button. (This will keep the player in pause mode; but queue it back to 0:00:00:00.
Press pause again (again from a few feet back using one remote); and all players will start.

Now if you have identical model DVD/Blu-Ray players; and I recommend decent ones; ones where you can disable the onscreen menus so the pause icon doesnt appear onscreen, etc, you can in fact achieve pretty accurate (I would guestimate +/- 2-3 frame accuracy); which; might be acceptable for you.
We used this method for a TEDx Presentation where we didn't have the budget to sync 14 players to 14 TVs on stage. So we purchased from BestBuy 14 Sony Blu-Ray Players ($100 each); and honestly; it worked perfectly. I personally couldn't see any sync issues at all from the house cam back stage.
Just make sure you give them black leader at the end as well (I'd recommend just adding 10 min of black at the end; so you don't have to stop the players/and the screens just go dark).

Do what you're already doing but use a Ethernet switch so you don't have to rely on the wireless network or worry about interference. If you have very new Macs, you will need Ethernet adapters, which will drive the price up.


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Matching colors for video
It appears that loading a graphics asset into Premiere’s new (2017.1) layered drawing tools does not do any kind of profile matching.  Furthermore, the play preview image looks different on my (color calibrated) monitor than it does on a real television.
Generally, the encoded video played on the TV looks more washed out, showing more shadow detail.  Specifically in this case, the desired green is significantly lighter and perhaps is more yellowish but that could just be the impression due to the brightness difference.
How do I convert a specified color into the RGB codes to use in Premiere’s titling tools?  I’m guessing at this point that I want to know the colors in the BT.709 color space, and that “hex color is #00853E” is sRGB.

Do the layered drawing tools have a color picker? Perhaps you could just pick the color directly from something else that uses it?

I did in fact use the color picker on the UNT logo in the playback window.  But if it didn’t color-manage the importing of the logo file in the first place, that doesn’t help.

The difference between the play preview image on your monitor vs. the TV is likely due to a data/video level mismatch somewhere.  How are you getting the video onto the TV?  Onto the monitor?

@JasonConrad the HT-PC uses an HDMI connector to a Denon receiver which takes the sound and passes along the picture to the TV, by another HDMI.

So through that signal path, I imagine you've rendered the video out to a file and are playing it through a software application?  You mentioned a color calibrated monitor.  I assume that's a separate signal path.  Does the play preview run through a hardware video interface such as a BlackMagic mini monitor or AJA box?  I'm guessing that your problems stem from mismatched data/video levels between these two signal paths.  This tutorial will help diagnose your issue.  Free trial available. https://mixinglight.com/color-tutorial/calman-part-10-using-calibration-test-patterns-in-your-nle/

@JasonConrad my editing PC running Premeire plays the preview in a window on the attached monitor via DisplayPort.  The display is calibrated in Windows using Spyder 3.

What sort of monitor will the audience for this video watch it on? There's no point getting too concerned with precise colour if everyone who sees the video is going to be seeing it on different randomly un-calibrated monitors in wildly varying viewing environments. Just do the best you can; fretting about colour profiles is for print designers.

It appears that BT.709 is a larger standard that includes the sRGB color space as part of what it means.  The Wikipedia article says “based on”, but looking carefully at the chart of numbers, they are identical.  So there is no need to convert from one to the other.
Of the various mixing recipes given (which do not agree with each other), the hex code is said to be for HTML/CSS, so that one I can assume is for the sRGB color space.
I used that value in Premiere in the new Graphics drawing tools, and it looks like the right kind of green.
The green background in the white-on-green EPS file they provide for the logo is not the right green when simply imported into Premiere, as I noted.  So I loaded it into Illustrator, turned off the background, and saved as the white logo only.  This I imported into Premiere which I layered over the background color, drawn using Premiere’s shape tool.


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Premiere’s new layered drawings are not in the Project panel
Premiere’s new (2017.1) layered drawing tools are easy enough to use, as they work similarly to other Adobe CC tools and the current UI concepts.
But, the multi-layer item I created does not appear in the Project panel!  The retronymed Legacy Titles appear in the project list as single items.  The new stuff shows individual entries for file-based assets used, but nothing for the multi-layer title composition as a unit or the layers of text and geometric drawing that are part of it.
This seems very strange.  Why would they want it to not show up in the Project panel?
What I want to do is copy elements from one timeline into another (many Acts in a single performance).  Normally I can just copy/paste or equivalent mouse gestures from an expanded tree view of the Project panel in list mode.

I haven't really tested the new Type and Essential Graphics functions yet, but I've played around with them a bit and I think I have grasped the essential functionality.
The text I create using the new Type Tool or graphic tools doesn't show up in the Project Panel for me either, as you described, so it stands to reason that this is the expected behaviour. I can't tell you why Adobe decided to build it that way. I can only assume it is to avoid visual clutter. The old functionality where you had to create one Title item/asset for every text insert in your video was indeed a bit clunky, so I would assume the new graphic items don't show up in the project panel to avoid cluttering and streamline the process. Also, having each graphic/text item appear in the project panel would create new design problems; for example, where would they go? If you prefer to have all your graphic/text items in one bin, do you have to sort the newly created items into that bin manually every time? Also, what part of the formatting/positioning is retained on the asset and clip basis respectively? How are point and area type handled respectively? And what about one graphic using multiple paths, how would the program discern between individual items and stuff that belongs together?
Again, I can only speculate as to what lead Adobe to make that design decision. If you don't like it, you can always contact them and ask for an explanation or for a change. Personally, I think I prefer a clean project panel over having it cluttered with myriads of individual path/shape layers, but that's very subjective I guess.

What I want to do is copy elements from one timeline into another (many Acts in a single performance). Normally I can just copy/paste or equivalent mouse gestures from an expanded tree view of the Project panel in list mode.

I found two workarounds:

You can just select one or multiple clips from the timeline and copy them by pressing CTRL + C. Then move your playhead to where you want to paste them (in whatever sequence you want to paste them into) and press CTRL + V to paste them. Note that you can control what tracks your pasted items will appear in using the Track Targeting toggles.
You can select one or multiple items in the timeline and nest them into a sub-sequence using Right-Click → Nest…. The nested sequence will show up in the Project Panel and can be reused from there. Changes to the nested sequence will be applied to whereever you use that sequence as well.

Your workarounds seem to be text copied from another source and it reads like it’s not really understaning the question.  I take it what you mean is to open the clip that contains the title in a timeline, and copy it from there.  #2 doesn’t seem to be related at all.

As for the questions that woukd raise, note that your own #1 relies on the fact that the bundle of layered graphics primitives is still one clip.  I don't want to track invidual text layers etc. in the project panel; just the entire clip.

@JDługosz Can you post some screenshots to demonstrate what kind of multi-layered items you mean and what part of it you want to copy? For me my workaround worked fine, but perhaps I misunderstood your question

Any of the tutorials or docs will do for a screenshot.  Layered Drawing Tools refer to the new Illustrator-like feature.  In my case, make a Title card from several pieces of text, rectangles, and imported graphics files.


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Best possible quality setting for screen recording (not games) and web presentation

Screen videos have text and simple geometric shapes, which need to
stay sharp, detailed and crispy. The color should also remain
untouched. With screen grabs, I want e.g. IBM blue to show as IBM blue
in the final MP4. Smoothness of animations is also very important
The requirements are different from regular video, but so is the
source material. Except UI animations, the frames are mostly still

Since I need to show these videos on a web site, my compression is based on h.264/avc. Can anybody suggest a set of parameters or offer some tips?
What have I tried? So far the most acceptable results were with variable frame rate, file size being 1/2 of the original (540x960), bit rate up to 3Mbps. I used encoder level 4 (probably should have used 3 for better compatibility?) and Profile set to Best. I tried Apple Compressor and Handbrake.


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Premiere multicamera audio not working
I've got a project with two video tracks from two cameras, and an audio track from a separate recording (from neither camera). Everything is synced up, but when I convert this to multi-camera, Premiere will not play the audio. I see the audio track, but it has no wave form, and when I play the multi-camera track, I can edit and switch between the video feeds, but I still get no audio.
If relevant, the audio is mono, not stereo.
What am I doing wrong here?


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OBS Studio - 'Blurred background copy' effect. Is this possible using only filters?
I don't know exactly what is the correct/technical name for this effect, but, to illustrate, i'm searching for a way to reproduce this effect in OBS for a live video source (both window, webcam and so on).

This effect is also applied in some portrait videos and photos like this:

You can achieve something which is kind of the same by duplicating the media and changing the transform slightly in multiple times. They have to have color correction and you can tweak the opacity so it looks right. Hope this helps.

For the 'tweak' part, this should help: http://asawicki.info/news_1391_how_to_equally_blend_multiple_images_in_gimp.html

I don't believe OBS can live blurring effect. The effect you want is actually called compositing where there are two layers and one does not have a blur effect and the other one does.
Donkey Kong background is actually scaled and blurred.
This can be done in editing but not live.
Check out Blackmagic Design website and look for free editing/color correction software. It is called Davinci Resolve.


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Why did a 10 minute video take up 32GB of space? (Canon 1200D)
I have a Canon 1200D DSLR camera and last night I was recording a 20 minute live show but my 32GB card filled up in just under 10 minutes. I was shooting at 1920x1080 50FPS.
I had checked the manual before hand and it said I should have had 44 minutes on a 16GB card which equates to roughly 88 minutes on my 32GB card.

So why did this happen? Cheers!

First, the movie have 32Gb? One thing is too fill up a card, because on systems like OSX keeps recovery information on cards and it may fill up fast, even when it shows that the card is empty a 100Mb file may fill up the card. So that why I'm asking you... the file is 32Gb large?

did you format the card in camera before you started using it that day ? I have had issues like this from moving cards between cameras and not formatting them in the camera of use before using

For one thing, that chart doesn't list 1920x1080 @ 50 fps, which is what you're shooting.  It lists 1920x1080 at 24, 25, and 30.  You can assume that you'll get around half the recording time listed when you double the frame rate.   But that should still get you around 44 minutes on an otherwise empty 32 GB card.  The fact that you didn't suggests that your card didn't have 32 GB of free space.  You probably had other pictures, movies, or files on the card already.  To get the full available recording time, you'll need to follow the manual's instructions on "formatting" the card.  Formatting a card erases all of its contents, so make sure you copy anything you want to keep over to a computer first.

My apologies, I actually meant 1280x720 at 50fps. I have edited the post, but nonetheless I have resolved the issue. The card was empty--or so I thought. Turns out there were hidden files reserved for different systems I had used the card for. I simply forgot to format the card before using it in this camera.


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FFmpeg, during capturing FPS changes
this is what Im tried:
ffmpeg -framerate 30 -rtbufsize 1500M -f dshow -i video="screen-capture-recorder":audio="virtual-audio-capturer" -vcodec libx264 -threads 0 -crf 0 -preset ultrafast -tune zerolatency -acodec pcm_s16le output.mkv

so Im record my desktop, speed seems to be OK. But I start a game which works with 50 fps. When the game runs and being recorded, its video gets faster, as soon as I close the game, speed returns to normal. Why? It seems that I must set a forced FPS, how?


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FFmpeg, how to record game over than 30 fps?
Im trying to record Windows Desktop, a game (Worms Armageddon) which has about 50 frames per second. If I check it closely, I can see some frames are missed. The command:
ffmpeg -probesize 10M -rtbufsize 1500M -f dshow -i audio="virtual-audio-capturer" -acodec pcm_s16le -f gdigrab -framerate 60 -i desktop -vcodec libx264 -qp 0 -threads 0 -crf 0 -preset ultrafast -tune zerolatency output.mkv

what else can I do?

This might be an issue with the hardware unable to keep up with the required process of recording (compression) and writing to disk, which will result in dropped frames. That being said, your flag for crf should increase by a ton, and remove the qp flag. Set the crf to 17-25 to ease off the required processing power.

I would put all the blame on -crf 0. I'd bet  -crf 18 will work just fine and look great.


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How to prevent chromatic aberration (green/purple fringing) on an After Effects export?
I'm relatively new to After Effects. I'm building a short ad using a free template I downloaded. I then rendered the project using Adobe Media Encoder on the H.264 Youtube 1080p setting.
Unfortunately, I'm getting green and purple lines both on the left and right of the overall video, and along any high contrast edge within the video (particularly egregious with any letters). All the animated typography etc. is done within After Effects so there's no question of this being introduced from any of source materials like imported video clips etc.
I've attached a few different images showing this. Any ideas on what I can do to prevent this? A different codec, different settings in Adobe Media Encoder? Could it be a particular filter or color treatments within After Effects itself?
Screengrabs:
The effect makes the video hazy and adds an unappetizing tint to the borders of all the elements in the video :(.
Thanks!

Are you sure this is not an effect that is intentionally added by the template to yield a retro effect? Some movies do this, for example Kung Fury. If it is not, it could be caused by faulty sequence, render or export settings (in particular chroma subsampling or anamorphic pixels). I suggest you post screenshots of those settings so we can see what could be the problem.

Agreed, chromatic aberration is a defect caused by the physics of glass lenses, to get it on a CG render you have to put it there.

I can't see your images for some reason but I suppose this is intentionally added in the template project. To remove it you would of course need to figure out which effect within AE is creating this problem, which I can not do without looking at the file... however I would look for effects like "Optics Compensation" or "Transform" (the effect, not the property). Try turning off any adjustment layers one-by-one to see if that does it. There's a 99% chance that it is an effect on an adjustment layer at the top of your composition creating something like that!


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What is the best software for visual effects?
I want to gain some recognition by making some short films and youtube videos. I pretty much shot and edited movies in my mobile itself, and now planning to shift to PC which is a little more powerful in these kind of stuff........
And my question is which is the best software for adding visual effects(like gunshots, blood effects, explosion and other stuff)??
I am pretty new to this and the internet tells me to use Adobe after effects & Hilfilm Studio 4 but these are far too complicated.........
Is there and software which is easy to use and producesa good output??
Thanks for your patience in understanding my question.

The unfortunate (or maybe fortunate!) fact is that making high quality visual effects is a full-time career option. That's good news if you love doing it, but the downside is that it takes time & effort to develop the necessary skill set. By industry standards, AE and Hitfilm are the easiest software used in this job. Hitfilm is free, so my advice is start small, find some online tutorials, and make a few simple effects using Hitfilm. You may discover you enjoy the process, and that it's not really as intimidating as it seems to you right now.

Although this is completely an opinion based question, I would still like to suggest that you should try at least After Effects first. Been using it for years, I can tell you that it is not at all a software you can categorize into 'too complicated to understand' and that too before getting your own hands on it. Adobe After Effects is fairly an easy software to understand and you can do basic YouTube videos that look professional in a week (if you spend 1 hour daily practicing it). Getting a powerful computer can be a plus as you'd feel frustrated if you'll render heavy footage on a regular computer. However, I used Adobe AE on 2GB RAM which people say is something near to highly frustrating.
My suggestion is to try AE, Hitfilm, v-ray, or even Blender. There's a big community for all these software where you can ask anything.


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What should I consider when selecting a frequency band for wireless microphones?
I'm in the market for a wireless lavalier. I was burned in the past by selecting a cheap VHF frequency mic. I learned later that was a bonehead move because VHF is used for everything from TVs to garage door openers.
I'm now considering a Sennheiser that offers four variants for frequency band. Those are listed as:

A - 516 to 558 MHz
A1 - 470 to 516 MHz
B - 626 to 668 MHz
G - 566 to 608 MHz

I understand what wireless frequencies are and that interference is caused by using frequencies that are not wholly unused by others. What I don't understand is what I need to know to pick one of these. Are these all about equal, or is there one better than the others?

Extra details
My use case is live conference events. I only plan to get one or two. This mic will be used all over the USA, mostly in major cities, but sometimes smaller cities, and almost always in a hotel or convention center.
These are some features of the mic that might affect this decision:

1680 Tunable Frequencies Across 42 MHz
Auto Frequency Scan Finds Open Bands
3 Level Squelch To Block Interference
20 Banks With 12 Channel Presets Each
Compander For Clearer Sound
Auto-Lock Prevents Accidental Adjustment

In case it matters, this mic.

It probably shouldn't matter unless there are a lot of other wireless mics around. In that case, you may want to ask whoever's running them which bands they are using. I regularly run 12 wireless EW300 mics, 6 in the A band and 6 in the B band. I'd suggest choosing a band, and buying it. To avoid interference, the most important thing is 1) selecting the right frequency within a band (where there is little to no interference) and 2) making sure your squelch is high enough. If the mic and receiver are close to each other, a squelch of 20 or even 25 wouldn't not be bad.

@Noal Thank you. I've been reading a bit since asking and found that the letter names are company specific. I also found through the Shure Frequency Finder that some cities have reserved some frequencies for this kind of thing. See Orlando for example

Consistently, what Shure calls the J3 and J10 groups had reserved frequencies. This fits with a stray comment on an amazon question answer that said H8, K12, and M15 are being retired and reserved for something else, so will therefore gain interference as time goes on, while J10, H9, and H10 are new and even contain reservations for this setting. J3, as far as I can tell, is pretty much J10, but for different Shure products.

I think you give some sound guidance, but just picking one might lead to a poor choice. @NoahL

And apparently groups and bands are different things (I meant bands earlier, not groups), but I don't see any practical reason to have two names for one thing.

Groups are different. They exist within bands. A band is the full range of frequencies that the tuner can send/receive. Groups are sets of individual frequencies set up by the manufacturer within a certain band. For example, a Sennheiser group within the A band might have 22 individual frequencies. Those frequencies are chosen so that if you operate many microphones, they won't interfere with each other. Basically, all the frequencies within Group A (ex. in the A band) won't interfere with each other (but may interfere with frequencies in Group B (ex. also in the A band)).


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Record Surround Sound While Gaming
Is there any software to capture surround sound when gaming? If not are there any hardware capture devices that can do this?
OBS, Shadow Play, and Elgato all appear to be unable to do it.

Audacity is also able to record system sound, is open source and have support on several systems, although on some systems it may not be able to record the surround sound, maybe just the stereo mix. It relies on tools that create loopback inputs for the system outputs.
You also can connect each output of your surround sound card to a multi channel audio interface and record using a DAW like Reaper, Logic ProX, etc.. or even Audacity. But I think that record system sound is always better since you don't need to use wires.


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How do I add multiple videos into multiple shape layers
I have a vector map of the state of NJ that I have broken up into counties (overall state as the shape layer...all counties underneath in a Group)
I'd like to insert a different graphic/video into each of the counties. Can anyone help me figure this out?

You'll need to make a separate layer for each county. You can do this by duplicating the entire NJ layer and deleting all but county #1, then duplicating the NJ layer and deleting all but county #2 and so on… You probably want to select all these layers and set their parent to the first layer so that if you transform one (move, scale, rotate) they'll all transform.
Once you have your separate layers you need to put the video layer for each county underneath its county shape layer. So it should look like a multi-layered sandwich, shape layer, then video, then shape, then video…
Then set the alpha matte for each video layer to the layer above. The alpha matte drop-down is next to the transfer mode drop-down. Then it will use the opacity of the layer above as a matte for the video layer.


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Implementation/Tools for upsampling cartoon video and imagery
I recently discovered a paper on upsampling video that introduced a novel method for the case cartoon and other line-based video/imagery works. Given that the paper was from 2010, I would have expected to find some sort of tooling that would enable the use of this method, but have been unable to find such implementations. Has anyone seen this or other methods for upsampling such imagery used in production? Do such tools exist yet?

Perhaps you should contact the authors of the paper.


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Suggestions/Ideas for a "Show Me" project for school about Audio or Video Encoding?
Basically, I need to make a quick "Show Me Something Cool" project for my physics class. It could be about anything sciency, that is cool, and that you can explain & demonstrate in class in like 5 minutes.
Now, I wanted to do something that related to Audio or Video encoding, such as bit-rate and or bit-depth, however, I've no idea how I will be able to do this while also impressing my teacher. She needs to think its "cool" in order to approve it, however, when I told her of the idea, she said "Sounds boring to me".
So, could any of you think of a "woah... thats cool" moment I could do (probably in a powerpoint with videos and audio), or a reason to why this stuff is actually cool? I mean, I know that this stuff is cool, I just can't think of a way to make my teacher approve a presentation of this? :( Thanks guys.

Your teacher is officially the worst. There's lots of really amazing maths and signal processing theory that goes into making cat videos on YouTube look as good as they can while being as small as they are.

While not exactly encoding, you might also consider presenting a little bit on steganography.  It is closely related to encoding in that it is able to hide messages in the less significant data of encoding so that it doesn't visually alter an image or video, but allows information to be extracted from it.  This might provide the "whoa" moment in a more general presentation on how encoding improves information density as people normally find it pretty crazy that you can put information in to an image that they can't see.

Entropy
Entropy is an important and notoriously difficult to teach (and understand) concept in physics. It's often explained as a measure of disorder, though that's not technically correct. However, from this perspective a video with lots of small particles would be considered to have a higher entropy than a video showing a black screen, for example. Read this for an explanation of the 'confetti phenomenom' and watch this great video by TED-Ed about the general concept of entropy.
Not gonna do your project for you, but you could for example show how the visible artifacts in a video increase when the amount of small particles in it increases (use a constant bitrate for this though). Based on this you can explain related topics such as bitrate, temporal and spatial interpolation and compression in general (read up on how archive recovery files can be used to replace ANY missing part of a split-up archive, cool stuff (though more maths than physics (is physics just applied maths though?))).
Have fun!

Thank you. Yes, you've given me what I was looking for! It makes complete sense now, ive watched the video too. Thanks for pointing the way! :D


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How to change clip speed in Lightworks 14
The new interface for Lightworks 14 has reorganized the control for clip speed to somewhere else.  You used to click the Advanced button at the bottom right of the timeline to make the speed controls pop up, but the Advanced button appears to no longer exist.  How can I change the speed of a section of video in the timeline?

Ah!  Okay, so apparently you now right-click on the clip and select "Speed.." from the context menu.  The location of the mouse pointer when you right-click doesn't seem to matter.  Not sure if the location of the current playback point still determines the stable point during the speed change.


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How to avoid Moiré effect when shooting with DLSR
How can I avoid the Moiré effect when shooting with a DSLR camera?

What is your subject?

Usually people on street, and very often I can't use good testimonies because they are wearing clothes with striped or any other repetitive pattern.

Avoid patterns like brick as well. It all has to do with the size of your sensor. Small sensors can't handle that detail. If you can get hands on a big sensor like a 5D, that will be your best solution.

The stock Canon 5D2 and 5D3 both have terrible moire due to an incredibly naive algorithm for decimating their native resolutions down to 1920x1080.  Small sensors with good antialiasing filters, such as GH3, GH4, and GH5 crush larger-sensored Canons generally.

You could always apply a slight blur or some sort of creative effect to cover it up in post. Perhaps not ideal, but if it mean the difference between not being able to use any of your footage, and being able to use some of it, then maybe it's worth a try?


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How to convert a 2:21:1 video to 16:9 DVD using ffmpeg?
I have a MPEG-4 Simple Profile video with size 720x288, pixel aspect ratio of 2:21:1 (ffmpeg says SAR 1:1, DAR 5:2).
I'm trying to use the command I usually use to convert it do DVD format:
ffmpeg -i inputfile.avi -target pal-dvd outputfile.mpg

This produces a 720x576 video which plays fine with video players on the PC. But when I try to burn this to a DVD (with 16:9 aspect ratio), the image is stretched. Playing around with VLC, I understand the video has a pixel aspect ratio of 2:21:1, so when reproduced at 16:9 images are vertically stretched.
I would have expected "-target pal-dvd" to fix this automatically, but it does not. I read some information on the Internet and I think the key is about setting the correct sar/dar, but I tried some combination and I was not able to obtain the result I want, probably because I don't perfectly understand the logic to determine the right values to set.
It's fine for me to have black bands over and below the image, but the video aspect ratio must be preserved, of course.
By the way, I'm getting the same results with avconv instead of ffmpeg.
Thanks in advance.

Having seen the sample, this is the command
ffmpeg -i in.avi -vf pad=720:576:0:144,setdar=4/3 -target pal-dvd out.mpg

The video is square-pixel, so scaling is not required. The frame should be treated as 4:3, not 16:9 (which isn't the right ratio for this movie anyway).

For widescreen playback in the PAL standard, your rendered raster has to be 1024x576. So,
ffmpeg -i in.avi -vf scale=1024:288,pad=1024:576:0:144 -target pal-dvd out.mpg

scale=1024:288 --> the video is scaled to the final display width.
pad=1024:576:0:144 --> vertical pixels are added to make it to 1024x576.
-target pal-dvd --> this will rescale the video to 720x576 and set a DAR of 16:9.

This indeed fixes the aspect ratio, although I'm not sure which step actually does this. But this produces a DVD with black bands on both sides, as well as on top and bottom. Indeed it's not very clear to me why I should pass through the 1024x288 resolution, which I expect it to stretch the image even further. And how it is possible that the final scale from 1024x576 to 720x576 does not warp the video.

I must correct myself: the side bands disappear if I force 16:9 aspect ratio in my video player (VLC). So I think I also have to set the DAR to get the resulting video declaring itself as 16:9. However, forcing 16:9 shows that the resulting video is actually stretched horizontally. Also, it seems like I obtain the exact same result as you if I skip the first scaling to 1024x288, and hence if I use: ffmpeg -i in.avi -vf pad=720x576:0:144 -target pal-dvd out.mpg.

Add setsar=1 after the pad in my command and check.

If I add setsar=1, to your command, I do not need any more to force the aspect ratio in rhe video player to 16:9 (it is automatically detected), but the video is still stretched horizontally... People look very fat :-).

Share a screenshot: ffmpeg -ss 300 -i in.avi -vf setsar=1 -vframes 1 out.png

Here it is: https://www.dropbox.com/s/7cluw19xmq26hvb/out.png?dl=0


text:
Resolve Transcoding Workflow
I'm struggling to find an optimal workflow with Resolve 14 involving XAVC-S video. I need to transcode to ProRes 422 (HQ) to edit and grade within Resolve.
At present I am bringing all my source intoResolve and Media Management to transcode the footage to a directory on my media drive. I am then creating a new Resolve project and importing the transcoded footage, editing and grading.
This workflow feels a bit clunky. Is there a way of handling the transcoding within a single project?

Why the initial transcode? It's not going to do anything but degrade the footage. Unless you can't get smooth playback of the XAVC-S.

@stib XAVC-S is useless for playback. You have to transcode it.

Old question, but in Media Management, there should be an option to relink the new footage.
This should allow you use the new transcoded footage within the same project.
It's under the "+ more options" section.


text:
capture card for thunderbolt 3.0
I'm a youtube gamer and I'm interested in making the transition from pc to mac. Unfortunately, I'm not too familiar with macs and any challenges their usb thunderbolts will pose. I want to get the 2017 macbook pro. It has four thunderbolt 3.0 ports. Will normal video capture cards like the eglato hd60 be able to connect to the thunderbolt port fine? My concern is that I also want to have an external hard drive connected as well due to the limited amount of space on the macbook. I edit and post ps4/xbox one gaming videos.

Yes. You will need a USB-C to USB 3 adapter, but the HD60 is compatible with Macs. Edit: this assumes the HD60 USB device, NOT the HD60 Pro PCIe card

Thunderbolt is a much better connection than USB 3 for these purposes.  Thunderbolt, when fully implemented, is actually able to function as an external 4x PCI-E connector in addition to a bunch of other things.  You can use a cheap adapter that will allow a USB 3.1 connection (which is backward compatible to previous USB standards) or you can buy a new device that is Thunderbolt 3 compatible and will be able to make use of the added bandwidth that Thunderbolt 3 supports.