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change aspect ratio without stretching video ffmpeg
ffmpeg -i "a.mov" -i "b.mp4" -filter_complex "[0:v]setsar=sar=${SAR}[a];  [1:v]setsar=sar=${SAR}[b]; [a][0:a] [b][1:a] concat=n=2:v=1:a=1 [v] [a]" -map "[v]" -map "[a]" -preset veryfast -crf 18 "merged.mp4"
using the above code I am able to successfully merge a.mov(1920x816) with b.mov(1920x816).  However, Youtube end screens require video to be 16:9 aspect ratio. Thus I tried scale filter and setting SAR to 16:9. however this leads to the output video stretching to fit the 16:9 ratio.
How can I output a video with 16:9 ratio with the actual video with resolution 1920x816. Essentially The remaining vertical space should just be black without stretching the 816 height video to fit the 1080 height.

Have you tried uploading it to Youtube? Their player window will be a fixed 16:9 ratio (on YT.com), but they should accept source videos of any ratio, and simply center it in their window during playback.
Anyway, here's the method:
ffmpeg -i "a.mov" -i "b.mp4" -filter_complex "[0:v]scale=iw*sar:ih,pad=if(gt(dar,16/9),iw,2*trunc(ih*16/9/2)):if(gt(dar,16/9),2*trunc(iw*9/16/2),ih):(ow-iw)/2:(oh-ih)/2,setsar=1[a];  [1:v]scale=iw*sar:ih,pad=if(gt(dar,16/9),iw,2*trunc(ih*16/9/2)):if(gt(dar,16/9),2*trunc(iw*9/16/2),ih):(ow-iw)/2:(oh-ih)/2,setsar=1[b];
[a][0:a] [b][1:a] concat=n=2:v=1:a=1 [v] [a]" -map "[v]" -map "[a]" -preset veryfast -crf 18 "merged.mp4

Same question as the other comment, what if the aspect ratio is, for example 13 : 6. Will it work if I change the command to - "-filter_complex", "[0:v]pad=iw:if(lte(ih\\,iw)\\,ih\\,2*trunc(iw*13/6/2)):(ow-iw)/2:(oh-ih)/2[v0];[1:v][v0]scale2ref[v1][v0];[v0][v1]overlay=x=(W-w)/2:y=(H-h)/2[v]" ?

Assuming 13/6 is the required output DAR, replace 16/9 in my command with 13/6 and 9/16 with 6/13.

This is the filter I used for a video that has 16/9 aspect ratio [0:v]pad=iw:if(lte(ih\\,iw)\\,ih\\,2trunc(iw*16/9/2)):(ow-iw)/2:(oh-ih)/2[v0];[1:v][v0]scale2ref[v1][v0];[v0][v1]overlay=x=(W-w)/2:y=(H-h)/2[v] Am I correct in changing the filter to the following if the aspect ratio is 13/6 [0:v]pad=iw:if(lte(ih\\,iw)\\,ih\\,2*trunc(iw*13/6/2)):(ow-iw)/2:(oh-ih)/2[v0];[1:v][v0]scale2ref[v1][v0];[v0][v1]overlay=x=(W-w)/2:y=(H-h)/2[v].

The first filter mentioned above works perfectly for video's that has an aspect ratio of 16/9 (without using DAR), that is why I was wondering if I could just change the trunc value to iw*13/6/2 instead of iw*16/9/2?

I asked a new question, can you please have a look? https://video.stackexchange.com/questions/28036/ffmpeg-issue-with-aspect-ratio


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DaVinci Resolve: Difference between adjusting Y or YRGB
In DaVinci Resolve 14, some operations can be performed on all of the Y, R, G, B channels at the same time or only on one of them.
What is the difference between adjusting only Y, or adjusting all of YRGB?  The effect looks the same.

My statement that the effect looks the same was incorrect. The use of these sliders is explained in the manual, in "Primary Grading Controls" -> "Color Wheels Palette" -> "RGB Lift/Gamma/Gain Sliders" (page 725 in the v14 manual).  Quoting:

... These three controls allow easy Y-only adjustments to contrast, where an increase in contrast results in perceptually diminished color saturation.
Making Y-only adjustments to contrast is a great way to increase contrast when you’re going for muted saturation or a gritty look. This kind of adjustment is also useful in situations where you’re trying to increase shadow density without increasing image colorfulness.

Glad you found it.  I knew the description of it doing the same thing was wrong from experience, but didn't have the manual handy to double check exactly what the difference was.

source: Stack Exchange

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

sort: votes


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How they did it? (3D-like screenshots with animation)
Here sample:

 (from 20th second)
It clearly 3D render, as here we can see DoF effect with small defocus.
Also, it clearly not 2D transformations of screenshot, as some elements must be pixelized in closeups. But fonts always clear, even when it becomes large.
I think, they re-created every screenshot as complete scene in some editor like 3dsmax, but it must be very time-consuming to re-create every single element, redraw everything as 3D-model, add every text label and so on. But "window" looks totally flat, they can easily improve quality if they can spend so many time on it.
May be here some dedicated software/plugins for such effects? Maybe some tools to convert 2D screenshots to complicated scene?

This looks like 2.5D to me, probably in After Effects. You create high res art, perhaps by capturing web pages from a 4K display, then animate each screen. Its only a small amount of mousing. Then use the After Effects 3D camera to spin objects and place them in a depth field. turn on Motion Blur and add shallow DOF with a defocus effect driven by depth.

Here's a tutorial on creating a pretty similar web site presentation in After Effects. Also you could browse VideoHive for commersial presets and templates for AFx to maybe find something even more close.

For a scene with detailed interface explanation I think they recreated interface in Photoshop in a higher resolution or even vector, with separate layers for the raising button and other accented elements.

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


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Video Quality Assessment (No-Reference)
I am looking to analyze the quality of videos using some no-reference methods. ie. I don't have a reference video to compare my videos with.
I want to identify frame-freezes, jitter, jerkiness etc. Basically, temporal artifacts.
There's a lot of academic literature available for this (eg. here), but I'm trying to figure out if there is an open source library / tool that I could use. Would this be possible using tools like FFMPEG?

ffmpeg mainly is for reading/writing video. I want similar tools too.

What is the video production context for this?  While video quality matters in video production, I can't think of a situation where you would need to measure the quality objectively though.  Either it is good enough for your purposes subjectively or it isn't.

@AJHenderson, it's a live-streaming use-case where we want to analyze the quality of video that the viewers saw.  While we can do a subjective assessment of the videos, it's not scalable.

@GufranPathan for what purpose though?  This sounds more like it is a software development question for a video viewing system than something related to Video Production.  I don't want to close this if there is a good use case that fits within scope, but I'm struggling to see one.

@AJHenderson Quality of Experience testing is a growing part of distribution monitoring. It is definitely in-scope for a broadcast engineer. (In other words, it is something I've worked on in my day job.) I'm not positive that is on topic the way the site's scope is written, but it is a pretty good yard stick in my book.

@MichaelLiebman yeah, that's why I haven't closed it yet.  It's certainly borderline.  I guess part of my concern is it seems like the border is probably at the point between using an existing tool to make sure something is going ok vs trying to build your own tool.  I'm not sure which of those this is trying to accomplish.  Making sure a delivery is successful seems like it is probably on topic.  Building your own custom distribution platform from source probably is not.  Using existing distribution systems probably is.

Freely available video quality of experience tools are quite rare and probably aren't going to work for your use case out of the box. The Netflix VMAF algorithm recently became available as an FFmpeg filter. The MSU VQMT is one of the more mature tools, but is only free for non-commercial use.
There are several (and some even good) commercial QoE monitoring systems available, if you have the budget.

VMAF is good, but apparently it is still a reference-based approach. Right?

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


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When import video in final cut pro it’s uses wrong resolution
I have a .mov video exported from Photos app (it’s the video part of live photo). The original video resolution is 960x720:

And in Quick Time player it looks right:

In Final Cut Pro I have a project with the same resolution:

And when I add the .mov video into timeline (via drag & drop) it squeezes it like this:

I'm a total newbie in FCP so maybe I missed something obvious. How to make FCP to not squeeze the video? (I’ve tried Spatial Conform -> Type -> None but it does not help: it cuts the sides and enlarge the video height while keeping wrong aspect ratio)

You were on the right track with Spatial Conform -> Type -> None, but you also need to adjust either the fill or the sequence settings.  You are trying to put a round peg in a square hole and FCP is trying to guess how you want it to make the peg fit.
You've told it you don't want it to stretch the peg. (This makes sense as a default because some formats do not use square pixels, such as anamorphic widescreen or NTSC DV.)  Now you need to tell it either that you don't mind if the peg is too small for the hole (prevent scaling to fill) or adjust the shape of the hole (altering the sequence/timeline settings).
I unfortunately can't give you specific details on how to do this in FCP as it's been quite a while since I last used it seriously, but the general concepts are basically the same across NLEs.

thanks for the answer. I failed to found how to do it properly in FCP. Right now I made Spacial Conform>Type>Fit, to fit video horizontally and scaled Y to 133%. This way it looks like intended.


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Can I use unlicensed music in a birthday video and take money for my editing work?
Is the following scenario legal for a professional editor?

A family wants to make a birthday video for their son for completely non commercial use.
In the video they would like a particular copyrighted song to be played in the background.
They hire an editor to edit this video using the song without licensing it.

I am not a lawyer and it may depend on where you are located, but generally speaking, even if you weren't being paid, this is technically a violation of copyright that you could be sued over.  It is highly unlikely that anyone would come after you for it if they only use it privately, but if it was, say, published to youtube, then there would be more chance of issues coming up and you would still be the person who sold them the video.  You would probably be liable under most jurisdictions copyright laws as this is a pretty major situation that copyright is specifically designed to prevent.
The intent or profit is generally irrelevant to most copyright law.  All that generally maters is the amount that it should have cost to make use of it (the actual damage is the money the author didn't get that they would have gotten for the usage).  So even if you gave it away for free (like many file sharers do), the damages are based on what the licensing for that should have been, plus a punitive penalty.  Whether you give away the work or sell it doesn't matter because it is still a work that the creator should have been paid for as it is their work.

"Unlicensed" is the red flag here. You have no rights to copy the song. You as the editor are responsible for purchasing a license to use the song. Unfortunately, the license for a popular song would be in the thousands and there has not been any solution for small businesses who just produce wedding and birthday videos. So, no it is not legal. Will you be sued? If your business becomes worthy of suing, then yes, you can and will be sued.
Commercial purpose is not the same as publishing. If you are being paid to create something with someone else's copyrighted material, you are infringing copyrights. If you are creating it for fun, no payment, and not publishing it then you are probably protected under fair use.
Disclaimer:This is all for educational purposes only.


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Apply effects to multiple clips (automation/batch/macro?) in Adobe Premiere CC
I have a Folder with dozens of Action Camera Clips. For each clip, I'd like to apply the same effects (lens distortion correction, warp stabilizer and color correction). But I want to create individual output clips, so starting with 50 Clips in Folder Source, I want to end up with 50 recoded matching clips in Folder Target, keep File names.
This is a painfully repeating job doing that clip by clip. Do you see any method of automation I can apply here?

There is a scripting language for Premiere called Extendscript, but Adobe refuse to release any documentation for it. So writing something to do it automatically might take as long as doing it manually (never stopped me, but there you go). Please, complain to Adobe, and in the future some developer will make a tool to do just that.

you can add\modify the filters on one clip then from the effects tab select the effects > "save presets" and apply those to the other clips.


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Sharp video cutter in Windows
I'm using free video cutter joiner, it's simple and very fast. However, sometimes it's not that sharp. I mean I set cut point from A to B, for example 01:25 (1 min 25 sec)to 01:55, then the output vid is like from 01:20 rather than 01:25... a five seconds shift, which is terrible.
Would anyone suggest a simple video cutter that is sharp in the same time. Thanks!

Questions related to software recommendations are off-topic for this site. But you might want to search on this site for existing questions about what free video editors are available, because it has been asked and answered multiple times.

The issue you are seeing is a limitation of your video file format.  In order to get such high levels of compression, modern video is encoded such that only some frames are fully described.  The remaining frames are described by how they differ from those frames coming before or after them.  The frames of video that are based on a given full frame are called a GOP or group of pictures.
In many file formats, it is not possible to setup the video to start or end on a point that is not the beginning or end of a group of pictures without re-encoding which would result in quality loss.  What your file splitter/joiner is likely doing is grabbing the nearest start/end of a group of pictures that includes the part of the video you wanted and starting/ending there.  If the GOP is large, then this could potentially be some amount of time away from where you actually tried to make your cut.
You could use a transcoder to re-encode the footage, but this would result in a loss of detail since you would have an additional generation of compression loss.  You could also possibly try moving it to a container that allows arbitrary start and end points when playing back (basically just skips the start and end of the GOP on playback) but that would depend on the video players you use supporting the feature and having the actual encoding in a codec that is supported by such a container format.


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Canon XF105 streaming
Can the Canon XF105 be used for streaming to Facebook Live and record the service simultaneously?  We are trying to utilize an existing Canon XF105 to stream to Facebook Live during our services while connecting sound to a digital sound mixer.  Thanks.

There is not enough information here about what you are trying to do.  There doesn't appear to be any way to directly stream to Facebook Live using the XF105.  It is also not clear how the sound mixer is being used.  What hardware are you using for the stream?  What kind of mixer do you have?  What are you trying to accomplish overall?  Does the recording need to have the audio from the mixer?

Looking at the capabilities of the XF105, there is no reason you could not simultaneously record to memory card and use the SDI or HDMI output of the camera.  It appears that you can get clean outputs on those feeds to avoid menus and such being present on the output.
The XF105 can't directly stream however, so you will need some type of device to create the stream.  You can either use a computer with a capture card or use a dedicated stream encoder that generates the stream directly.
For audio, if you have the ability to send an aux output from the mixing console, I would suggest using the XLR inputs on the XF105 in line mode to take a direct audio output feed from the sound board itself.  This way both your recording and the stream will have direct audio from the console.  If possible, doing a custom mix on an aux output is slightly preferable since ideal levels will vary slightly between the room vs a direct recording, but using room levels will produce sufficiently high quality results if you don't have the manpower to do both mixes simultaneously.


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Projection mapping as an external display for a computer
I'm using a projector to display the content of my computer, as one would do with a regular screen. Now I want to do the projection on several panels that have different orientations. Hence I'm looking for a projection mapping solution.
Is it possible to do projection mapping with the HDMI output of my computer as projected content? If it is, could you recommend me a tool to do so? So far, the projection mapping softwares I've found can only project content that is internal to the computer and defined in advance, such as solid colors, video or pictures.

Youre likely going to have a tough time accomplishing this without the right toolset.
Im not aware of any opensource projection mapping software that could accurately output a signal to a projector or series of projectors to accomplish a decent map.
Christie (you can visit their website and search youtube for examples) is the only projection mapping software / hardware solution Ive toyed with... back when I had two Christie HD10K rigs.
But good projection mapping typically requires at least 4 projectors all tied into the same video engine. You need up down left and right, otherwise shadows will be a major issue.
Typically, 6 or 8 units are used on a single simple object for wrap around effects.

I think it is possible to do live projection using Mad Mapper, but fundamentally I think you won't get a usable result.
Sending a single HDMI output from your computer to a projector, and then projecting this across multiple different panels means the pixel resolution on the individual panels is going to be much lower.
Unless you have some sort of mammoth video card with multiple outputs, I'm not sure this would generate usable, readable output for the purpose you propose.

Try Resolume Arena, at youtube you can get tons tutorials

Can you add some more detail to your answer so that it will help more people? A link to the software and a useful tutorial, perhaps?


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Overlays and local ad insertion for live streaming
I have an event coming up and i am only broadcasting on youtube via OBS,i want to have overlays(the person who is on stage name appearing from the bottom) and locally stored sponsored ads to the stream, how do i do this?
i have searched most of the sites but i didn't find the answer i am searching for.I can have the overlays made and saved from After effects,but what is the best way to do this?

For reference, you are not doing "local" ad insertion in what you described. Local ad insertion is insertion at or near the viewer, typically by the network affiliate, the cable provider, or the CDN for OTT services. What you described is "network" ad insertion.

i have a set of advertisements from companies(10 seconds made ones) i need to add them to the stream when there is a break.I am the streamer

I think you need to search for automated play out systems.


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Stop motion animation and audio keyframes in AE
so I'm completely new to After Effects (normally work with premiere or stop motion animation) so if I've not given enough/or the right information, just let me know what you need to know.
I have a four frame animation, and want to use keyframes generated by audio to choose which frame to show of the animation (it's for a music video and each frame is a different position while playing an instrument). I was hoping to assign a frame to different value ranges generated by the audio, I've managed to animate other things with audio keyframes and linear expressions. The issue I seem to be having is that keyframes seem to only exist for effects, so I can't figure out how to assign each frame of the animation a value that I can then use in relation to the generated keyframes.
I'm sorry if that doesn't make any sense, but any help would be hugely appreciated!

You can choose which frame of footage is shown by enabling Time Remapping for the layer. Find it in the layer menu, or by right-clicking a layer in the timeline, or by using ctrl / ⌘alt / ⌥t

Turn it on for a layer and the displayed time is set by the value of the Time Remap property, which can be keyframed or controlled with expressions. Once you've applied it hit u to show it.

The value of the property is in in seconds, so you'll have to convert it to frames. You'll have to check what fps value the footage is interpreted as having.


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How do I edit a video clip without increasing size?
I have several video clips that are small files -- the videos are pretty low quality. I'm on a Windows computer. I just need to trim the videos and rotate them 180 degrees. You'd think that if I trim the videos, the files would be smaller than they started, but for some reason when I do it on Windows Moviemaker it makes them bigger. I'm not willing to pay for a legit movie editor to do something this simple. Does anybody know how I can do this? I just need to trim, rotate, and potentially combine clips without changing the resolution and without increasing the files sizes. Thanks so much!

The file gets bigger because the encoder struggles to keep the quality of the resulting file as close to the same as the original as possible. AviDemux allows you to cut out parts of a video file without re-encoding.

Why size increased? Because used different methods to compress frames, with different ratios. And every re-compression takes away some quality.
Why you need to recompress file? When you change something, even single pixel, you must recompress whole image. So, rotation of image will cause image recompression.
How to do even smaller file? Increase ratio of compression and lost some quality.
Yes, it possible in some cases do lossless recompression, for example, for mjpeg. But this method very limited and I don't know tools to end-users what can do this.
If you want just strip-out some segments of video and NOT touch frame content, I can suggest to use VirtualDub, where exist cool mode "direct stream copy".

This is not what I'm asking though. I don't see why it should have to recompress. Isn't there some software that doesn't mess with the compression rates and just gives it back to you with the same compression ratio that you inputted the video in the first place?

Yes there are, most Adobe programs can do this but there is no guarantee it will guess your codec correctly. Either way your settings have to be correct. Try ffmpeg

No, there aren't. As Bukojot said, if you change even a single pixel, the video will need to be recompressed. You have to wind down the quality of the recompression until the compromise between file size and quality is where you want it. Windows Movie Maker is probably not the best tool for this

When you use a professional editing software, you don't just save the video and let the software pick the render settings, you chose exactly how you want the output to be. Unlike Movie Maker, it does it for you.
What you can do is, save the videos from Movie Maker then compress them using Handbrake, its a FREE software and you can find many tutorials about it online.
Hope this helps.

This can easily be achieved with MPEG Streamclip
Step 1.
Right-Click your video and 'open with MPEG Streamclip'
Step 2.
In the player window, use keys 'I' and 'O' to mark IN/OUT over the section you want to trim down to
Step 3.
Go to 'File > Save As > MOV'
Hint:
Make sure you use the 'Save As' function and not the 'Export' function. If you use export you will end up re-encoding the video to a new compression which will make the file larger than the original. If you use 'Save As', the software will simply copy the existing video data into a new MOV container file for you, keeping the file small like you intend.

I recommend FFMPEG for that task.  It is lighter weight than the other proposed solutions.  The command you need is ffmpeg -i INPUTFILE -ss STARTTIME -to ENDTIME -c:v copy -c:a copy OUTPUTFILE.
You can use seconds, minutes:seconds and other time formats for STARTTIME and ENDTIME.
Make sure that -ss STARTTIME comes after -i INPUTFILE.  It may work before the input for some videos; but, with my test video, it looked horrible when used before the input and fine when used after.  I assume that there was not a keyframe shortly after the start time I specified so the output looked horrible because FFMPEG loaded the file from that point in time.  If someone does know the reason for that please let me know.

Whoops, just realized that this thread is over a year old...


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Using Premiere's essential graphics panel to create a typewriter effect
Is there a way to create a type-on typewriter effect using the Essential Graphics Panel in Premiere 2017 that does not require the user to manually keyframe each letter?
This tutorial shows that method:

But I'm wondering if there's a method more akin to an After Effects typewriter preset, where you set the source text, then reveal each character over time, character by character, or word by word (not unmasking pixel by pixel).
Thanks


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How to create Final Cut Pro files on Windows machine?
I need to edit some video files and submit my work as FCP7 XML file (XMEML). In which software it can be done? I don't need any special and exotic features, I need only file cutting.
Only one thing I need: it must work on WindowsXP or Windows 7 (XP is better). Maybe exists something small, what can run on old machine?

If you have, or can rent Adobe Premiere you can export as FCP XML from that. Davinci Resolve does too, but I'm not sure if the capability is included in the free version.

Both applications are 64-bits only, it will not work on old computer

Another format you could use is an EDL (edit decision list). These files have existed since video editing was done on tape, and FCP can still import them. You can create them in a text editor if you have to.

I know about EDL, but requirement is FCP/FC7

A company called Automatic Duck used to make several products for converting between Final Cut Pro 7, Adobe Premiere Pro, Adobe After Effects, and Avid. They no longer sell those products since FCP7 was end-of-lifed 6+ years ago. But you might be able to find an editor who has an old copy they can lend you.
Alternatively, the FCP7 XML file format was fairly well documented. If all you need are cuts, you might be able to create one by hand in a text editor.


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Video playout software and hardware requirements for simple TV channel
What would minimum hardware requirements be on Win10 desktop/server for streaming  SD channel ? Which is the simplest playout solution you can recommend ?
I have offers from 2.000,00 € for hardware and software up to 35.000,00 €, all basicly doing same thing. There are some new "cloud" services that offer it all but for enormous 80.000,00 € per year.
My requirements are very simple. Ingest - schedule - play. Graphics: only logo. And Desktop/server to handle it all.
I understand that big TV channels need load of things, graphics, multiple channels, safety etc. But what about those simple channels ? Any solutions out of the box for reasonable price ?

You gave a lot of anti-requirements but not much of actual requirements. What is a reasonable price? What is your skill level? What is your time investment? What kind of reliability are you looking for? What is your distribution (factors in to quality and other equipment you might need)? How much storage do you need (in hours)?

As Michael asked, you need to give more detail as to what you need.

Cheapest solution: OBS for broadcasting, mplayer for video playback, someone who will programm simple schedule for $100. If you don't need exact schedule programming, you can just make playlists playback for free! Here no instruction how to setup it for your needs, but if you is advanced user, you can do everything youself.
If you need advert breaks, logo overlays and so on, it can be programmed with infrastructure of OBS, but you can reach limits very fast. You can try to hire freelancers who will maintain your infrastructure and wishes.
Main price for "out of box" solutions comes from any guarantees what will be provided to you. Cheap infrastructure guarantees nothing.

Have a look to vMix , a software that take advantage of NDI.
Or you use MPlayer/VLC as playout on another machine and use OBS + NDI to capture back the playout and broadcast

How does NDI address the minimal requirements the user gave? All NDI is replace SDI wiring with a network.


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Automate After Effects assets rendering via script and external data
I am often rendering quite large sets of assets (lower thirds, titles, etc) from AFX and it's really annoying to eg create lower third and then duplicate it and change texts. Especially when I later need to change something globally and have to return to every single copy of that graphic.
Is there maybe a way to load data from external file (like XML or JSON) and then repeat render for each row / set in that file? So I could basically create lower third with text fields "name" and "company" and then specify multiple values for those fields in external file and then just have AFX render my composition with each set of values?

Have you got the latest version? After Effects CC 2018 is all about data driven animation.
Either way you can use external file to drive expressions (in older versions too) using the eval javascript function. I explain it on my blog thus:
If you have a file that contains something like this:
var vals = {"rotation":8, "scaleX":150, "scaleY":200};

you can use this expression, e.g. in the scale property:
$.evalFile("/path/to/test.js"); // or "c:\path\to\test.js"
[eval(vals).scaleX, eval(vals).scaleY]

the first line reads the file and treats it as source for the expression, so vals is defined as an object with rotation, scaleX and scaleY properties, which we access as the value for our scale property.
In your case you'd be wanting to use the expression for the Source Text property, so your data file might be something like
var vals = {"comp1": {line1:"Doctor MCDoctorface", line2:"Surgeon"},
            "comp2": {line1:"Skinner McHackett", line2:"Butcher}…
           }

So that's an array of arrays, where each comp has 2 values, line1 and line2. In your expression you'd loop through the array, until you found the member of the outer array whose name matched thisComp.name and then use the appropriate member for line 1 and 2.
To automate your rendering you can use the built-in command line renderer aerender (aka aerender.exe). With a bit of shell scripting you can automate the whole workflow.

And also one little trick: you can copy-paste key-frames. And you can copy-paste it as text! Just copy all your animation key-frames and paste to notepad.exe or other text editor! Pretty cool? You can write own script in any language to generate text with same structure and import many data in AE in such way.
Unfortunately, this works only with animation key-frames. But this one day saved too much time for me.


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"Swimming" texture artefact on a drone video footage
I came accross footage, which has been shot using a drone. There appears a "swimming" texture effect on a roof of the building. I downloaded an example to youtube to the following link.

Why is this happening and can it be solved in AE?
Thanks!

Moire removal. More about: https://en.wikipedia.org/wiki/Moiré_pattern

This is due to an issue with resolving an image to a set of pixels called moire.  Basically, due to the regular pattern, some parts of a straight line end up on one line of sensors and the other end up on the other.  This results in a jaggy line and the line moves around as the image moves across the sensor, producing the effect you see.  It can occur when shooting any regular repeating pattern off angle to vertical or horizontal.
The "solution" is to apply a gaussian blur (or moire reduction filter if you have one available, but it will basically do the same thing) to normalize the lines enough that they don't flicker back and forth anymore.  It results in a loss of crispness of the image, but will also deal with making the shifting less pronounced.


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HLS Preset Settings 240p, 360p, 480p, 720p and 1080p
I am  trying to transcode mp4 videos into HLS using AWS transcoder. I see that there are only few presets available which are like 1M, 1.5M and the highest 2M. I am unable to get 240, 360 , 480,720p and 1080p
Could someone help me with different transcoder settings to create these presets? I don't understand most of the fields presented in the presets.

What have you tried so far? What fields do you specifically have questions about? Have you come across any reference material that you don't understand?


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How to get the mobile screen effect in videos?
I am new to video editing and publishing and have recently started creating some content for my company. I am using Camtasia for the same which I have self learnt so high chances I may not know a lot of things about it.
Currently I am trying to make some video which I want to show as if they are in a mobile screen. An example of my requirement can be found at:

 . I am planning to show some app features instead of whats shown in the video however, that mobile screen effect is something very close to what I need.
I would like to know how to achieve this? Can this be done in Camtasia or will I need some other tool for the same?

You will most likely need dedicated compositing software unless your NLE has some basic functionality built-in that allows you to do this. Here are some free or low-cost examples of compositing software:

After Effects
Fusion
HitFilm
Natron (GPL Open Source)


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Filming a Bike From The Angle of The Wheel
I'm filming a chase scene for a course and want to incorporate a bike. I've seen multiple films where the angle is on the spokes of the wheel. I am looking for any suggestions of a (much cheaper) rig or idea to get this shot. I'm working with a Mark II. I have access to a monopod, a wheel rig, and a shoulder rig.
Thanks

A Mark II what? 5D?

Buy an action camera (GoPro, SJcam, Sony, knock off brand) and use one of the many accessories you can get and or some fancy duct tape work. This way you would be able to get closer to the frame and also use the camera for some other more artistic shots due to the size.
Otherwise you could build a rig using clamps and rods to support your main camera but this could make the bike side heavy and not as easy to ride.
I think the professionals (hollywood films) would probably build a side frame for the bike so the bike is more stable

None of the rigging you currently have is likely to help.  You can probably build a custom clamping solution pretty cheaply, but I'd be a bit worried about how jarring the experience could be for the camera itself given that it could be quite a bumpy ride and trying to work in shocks for the mount would increase both cost, complexity and impact on bike performance considerably.
As other's have said, an action camera with purpose built mount is probably the best bet for cost/risk, but there's not really much of a perfect answer.

Two ideas:

Go to local electrical store and try to find some cable/wires like this:

Ask seller for very hard and most thick cable. You will need 1-2 meters. Remove isolation and take it to the bike. Make some turns around the video camera. Make a few more turns near the fork of the bicycle. Use the remaining wire, since the shaking will provoke large loads.
If you have actioncam with aquabox, go to ebay/aliexpress and find any GoPro mounts with queries like "gopro mount tube" or "gopro mount bike". But something like this for $2:


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Detect changes in display aspect ratio
I would like to know if it is possible to find time stamps or frame numbers where a change of the display aspect ratio occurs in a video?
In more detail, I recorded a TV-show from an SD-channel which resulted in a .ts file with a pixel resolution of 720x576. Since it is an old show, the show itself has a display aspect ratio (DAR) of 4:3. The commercials however are broadcast with a DAR of 16:9.
I was wondering if it is possible to extract the positions of the video where the DAR changes since I'd like to use this information to detect the commercial breaks?
I tried using comskip but it seems that it always assumes quadratic pixels and therefore is not able to detect the change of the aspect ratio.
Other software is however able to respect the varying DAR.
For example, vlc always rescales the video accordingly and projectx also displays the right DAR for the respective positions in the video.

I think it very specific software, but you can write it youself

Do you know if the raster size also changes, or just the pixel aspect?

As far as I can see, it always stays at 720x576 pixels.


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Final Cut Pro audio issue that's driving me nuts
I am experience an issue with audio in FCP X. In my videos, I take certain sections, turn the audio down to zero and speed the sections up to 8x. What this often does is screw up the audio in the entire video. It becomes choppy and echo-y and, occasionally, the echo is so strong that it sounds like there are two people talking at the same time.
An example of the issue can be seen in

. There are several places where the acceleration happens (e.g you can see one at the 25min mark). But you can hear the choppy sounds throughout and especially after that mark.
Any suggestions (short of switching to Premiere?)

For a more extreme example, see https://youtu.be/cf8rgx60IKA?t=13m20s

Additional information. I did more testing and concluded that this is caused by the combination of speeding the clip up and preserving pitch. If I don't preserve the pitch, then this distortion doesn't happen. (But I need to preserve pitch or else the speed up transitions don't work.)

Have you tried Detach Audio and Blading (B) the audio in the section that you want to mute?

I second what Alan commented. I would cut the part on both sides you want to mute and do the speed change on it. You might also consider a J cut from the following normal speed clip.
Double clip in between the video and the sound and it should expand. Now you can extend the audio from the normal speed clip towards the end of the clip which was sped up.


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Use of you tube videos in a church service
How can I find out whether or not it's permissible to use a you tube video in a church service?

It depends on how the video is licensed.  There are two main licenses used on Youtube.  The Standard Youtube Licence and the Creative Commons license.
The Creative Commons license gives free reign to use the video for whatever you want, so long as you maintain attribution of the author of the content.
Youtube standard license is a bit more tricky.  Section 5.B of the Youtube terms of service reads (in part) "Content is provided to you AS IS. You may access Content for your information and personal use solely as intended through the provided functionality of the Service and as permitted under these Terms of Service. "  It comes down to the meaning of "personal use" and if that applies to the playback during the church service.  I'm not a lawyer, but I would tend to think that public display probably isn't personal use, so it would probably be a violation of the license.
As far as restreaming that pojo-guy mentioned in his answer, any CC licensed videos would be fine to re-stream as well as long as the attribution is intact for the work being used.  Youtube doesn't use a SA (share alike) CC license, so it is not necessary for your stream to also be CC licensed.

There are two sides to this question:
1. Does the owner grant permission to use it in the church service?
Before using a video in a church service, message the owner. Usually they will be happy to let you use it, and on occasion they will direct you to a higher quality download without ads. In general, YouTube is free to play.
2. Is the church okay with the ads that are likely to come along with it?
Youtubers make their money off of advertising, and they have no control over the ads that are likely to be presented. I recall a time when a children's church program (tee-totalling denomination) started with a beer advertisement because that what was shown with the video we had selected.
Further Considerations
If you are live-streaming or recording services for later playback on youtube, you have to pay extra attention to permissions on copyrighted material. Your CCLI license does not cover streaming, but the CSLP license does. Hillsong blocks re-streaming of their content, as do major networks (nbc, etc).


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What is the "state of the art" professional software for storyboards and animatics?
What is the "state of the art" professional software used by major Hollywood productions for storyboards and animatics?
I assume that maya would be the way the go when doing full 3D (pre-viz), right?

Technically most of the state of the art products of animatics are made from not only 1 but many software. It all starts from visualization to animation and rendering. But no matter how excellent the tools you use if the person who's operating it does not have the skills and talent, it will be a waste of time.


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How do i increase the volume of a video I recorded?
I shot a .mp4 video from my cellphone. Turns out that the volume is very low. How can I increase it?

What software do you have, if any?  There are literally hundreds of ways you could accomplish this, though the quality is likely to not be great as there will probably be a lot of noise relative to the sound you want.

Consider me illiterate on this. I've no software for this job. Kindly let me know one.

What OS does your computer have?

You can use ffmpeg:
    ffmpeg -i file_with_quiet_sound.mp4 -af volume=150 -vcodec copy newfile.mp4

It will increase volume of your file at 150 times! Don't worry, big values can do funny effects, I like it. But I think, you will get many noises and not will love result.
If you want really make sound better, convert your video to .wav file with ffmpeg:
    ffmpeg -i file_with_quiet_sound.mp4 sound.wav

And then open it in any audio editor. I can suggest Audacity, this is free software with good features. I like old version 2.0.2 where exists old version of "Noise remove" filters which can produce magic with your sound (if you can do it right). If you don't like Audacity, you can to use any other audio editor. When editing of sound is done, you can join video and audio:
    ffmpeg -i file_with_quiet_sound.mp4 -i fixed_sound.wav -map 0:0 -map 1:0 -vcodec copy newfile.mp4

Pretty simple. All software is free and available on every platform.

Exactly what I needed, and would have taken me forever to figure out. Thank you! I love stackexchange :)


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Hi, How can I convert iTunes M4V to Mov? I try multiple free online software, but none of them work
How can I convert iTunes M4V to Mov? I try multiple free online software, but none of them work

Why do you need to bother?  M4V support is pretty universal and both are simply containers for a video stream, so it doesn't seem particularly likely to help to simply change the container if you are having a problem with a particular situation.

M4V is a file extension for a container file defined in the systems
  part of the MPEG-4 standard (ISO 14496-1), as downloaded by iTunes. An
  M4V file can be renamed to the more common extension of MP4 to be
  played on other media players if not protected content.

As mp4 and mov almost same, just rename it to mov


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How can one disable power aperture for video shooting with the Nikon D750?
I'm using a lens with an aperture ring that allows changing the aperture in a smooth, continuous manner.

I've set up the D750 to allow me to use the aperture ring on the lens to change the aperture instead of the normal dial.
When I use LiveView in photo mode, I can change the aperture from the lens as expected, and looking through the lens as I rotate the aperture ring shows a smooth transition
When switching to LiveView video mode (and starting to record) however, power aperture kicks in and constantly tries to adjust the aperture to a "round" value, both making noise and cancelling the whole advantage offered by the lens.

Is there any way to disable this? Changing the Multi-selector power aperture setting has no effect.
The lens has a CPU chip and the firmware version of the camera is 1.02.


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Timing a list if bullet points in Kdenlive?
I have a list of bullet points that I'd like to hide and then display one after another with a 1 second delay between each.
Is a simple way to do this in Kdenlive? The only way I can see is to create a separate title clip for each point, carefully align the text in each clip, and then set a transparency effect for each clip, but that's a ton of work for a relatively simple visual.


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Encoding low bitrate video source file to a higher bitrate
I need to know if there will be any difference in the quality of the encoded video if the bitrate of the source file is, let's say 2000kbps and I encode it to 4000kbps.
Any help will be much appreciated.
Thanks in advance.

Yes, the quality will be worse. But probably not perceptually. Encoding ALWAYS loses a little information, that’s why it is called lossy compression. Increasing the bitrate will only reduce the information loss. The best you can do is lossless compression, and it will look exactly like the source

depending on the original compression you could end up with more artifacts around those artifacts.

Thank you for your reply. Actually I am trancoding my MP4 videos to different HLS segments so I wanted to know if my MP4 File bitrate is 2000kbps would it make any sense if I set the bitrate to 4000kbps for 1080p?

If your original isn’t 1080p don’t scale it up. Let it be scaled in the decide side. You can not “add” image quality

"Quality" is a tricky term. You need to define "quality" before asking whether it will be better or worse. What you surely will not get is more information — you will have only as much or less information that you started with. Visual quality, though may be improved depending on what you do to your video. If your video is interlaced, you can deinterlace it to get rid of combing. Moreover, if it has been incorrectly deinterlaced and the combing artefacts are already baked in, you can remove them. You can change contrast or color. You can change aspect ratio. You can digitally zoom into certain sections. If your video has visible tiling artefacts, a good decoder will smoothen them out, so you can get visually more pleasant video.
But if you are not planning any of the above, then better leave it as is, unless a specific format is required.


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How to control animated gif speed when exporting from Premier Pro
I have got a sequence of 25 frames from a series of photos that I shot. I have imported the images into Premiere Pro and changed the speed/duration to 00.00.02.
When I preview the sequence in the preview window, it runs at the exact speed I want it. However, when I export it as an animated gif the file runs at about 1 frame per second which is too slow.
How do I control the speed when I export the .gif file?

when you are exporting you should be able to change the frame rate in the basic video setting. If you "un-check" the box of the preset option, you can select the rate between different values.


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Mounted Canon VIXIA HF G20 -
Church installation. We have the camcorder mounted 12' above the floor and I have to use a ladder to get to the camera to take out the SD card and then replace it after I have downloaded the video for edit and publishing. I use an HDMI cable to a view a remote monitor in the sound booth. Is there a way I don't have to get the ladder out each time I need to download? Is the output to the HDMI the same as the output to the SD card?

We use Canon HFG-10 and -30 cameras connected via a Blackmagic HDMI to SDI transcoder to a Blackmagic Hyperdeck. We have other equipment in the middle, but for a single camera setup this gets the job done. Any deck capable of recording HDMI could be used.
The uncompressed video is visually indistinguishable from the output of a broadcast camera.

As long as the HDMI output is configured properly, it should be the same as what is recorded.  I'm not sure about that particular model, but most higher end video cameras support clean HDMI or SDI output.  A clean output means it is free of any of the on screen displays.  They may also be capable of outputting different resolutions between the HDMI/SDI outputs and the recording.
As long as the HDMI output is configured to match the settings of the recording, then it should be the same signal.  Since it is digital, as long as the signal isn't dropping bits of data entirely, there won't be the traditional type of quality loss from analog transmissions, but you'll want to make sure the HDMI run isn't longer than necessary.

I have a 50 foot HDMI run. Is that too long?

@Dane It is pushing the upper limit of HDMI.  You might want to try placing an external recorder closer if you can or use a converter to go to SDI for the long run.  SDI will carry the signal much more reliably as it doesn't have to worry about crosstalk between the conductors.


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How to change the resolution/size of iMovie so I can export square videos for Instagram?
Looking to change the resolution dimensions to a square. Does anyone know how to do this?

You might crop each slide.  I haven't looked but if you have a lot of slide thee might be a way to set the crop as a 'default'


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Why would an DSI MIPI HDMI device accept Windows 10 HDMI signal but not HDMI signal from a GoPro or wireless HDMI transmitter?
I have this LCD (usually used with cellphones) with DSI MIPI HDMI: link.
At the moment, I can only get this device to display HDMI signal from a Windows 10 desktop. This device does not display anything for an HDMI signal from a GoPro or the Nyrius ARIES Prime wireless HDMI transmitter.
Can someone please explain why my DSI MIPI HDMI device accepts HDMI signal from Windows but not from other devices?

There are two possible reasons I could see for this.  The first is that the supported resolution information is not being properly sent, resulting in a signal being sent which is not supported by the display.  It is also possible that the GoPro and the wireless HDMI transmitter do not support the same resolutions as the display you are using, in which case it wouldn't be able to send a workable signal.
The second possible issue is that of HDCP.  HDCP is a technology used to protect copyright video data when it is being displayed.  If one of your source devices only operates with HDCP compatible devices, it is entirely possible this display is not HDCP compatible and that would prevent the display from working as well.


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How do I turn a contract into a client?
I am starting up my own media company, where I will be focusing mostly on creating video content for clients. I've had contract with a few pent-up clients that seem promising, but it's hard to reel them in. How do I help things move forward without being insensitive?

This might be better asked on https://startups.stackexchange.com/ . A media business is not qualitatively different from any other business in this regard.

@pojo-guy - except that how you differentiate yourself would be specific to video production.  I do believe startups could help, but I'm not sure that this is something that couldn't also fit here.


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Best Way To Improve Davinci Resolve 12 Playback Speed?
I run a 2011 MacBook Pro, and it can barely handle Davinci Resolve 12. The biggest problem I have is playback. Playback is very laggy for me, and that is a problem because I need cut and sync clips with the music. Is there a way I can improve the playback speed in Davinci Resolve 12?

Are you working with RAW files?  I have a very strong 2014 MBP, but even it still offers glitchy playback.  I don't have an issue with this though, as I'm only doing color correcting/grading and then exporting to Premiere Pro to edit.  If you are having issues trying to edit with your RAW files, I would do the color work first, export your RAW files to a more workable format, then edit with those clips instead.

@Manly I'm mostly using .mov and .mp4 files, nothing too big. None of them are bigger than 1080p. I also do all the editing in Davinci Resolve, not just the color correction.

Try generating optimized media (i.e. proxy files). Optimized Media is a nice feature that will allow you to playback, edit and grade video files that are optimized for smooth playback, but Resolve will still render from the original video files when you are ready to deliver.
Head over the Media tab and right click on the file(s) you want to optimize, and select "Generate Optimized Media". This may take a little while to run, so grab a coffee while you wait.
You can choose what compression format to use as optimized media (ProRes, DNxHD, etc) by opening Project Settings > General Options.
Here's a nice video tutorial that will walk you through it in more detail:

In case the video becomes unavailable, could you summarize its content for future readers?

MichaelLiebman updated :)


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Animating vectors to audio in After Effects
Hi i have the following graphic
Which i want to animate to the music. I would like them to animate like traditional volume bars but have each one animate at separate levels. I have tried using wiggle expression on the positison but it didn't give the desired effect. Does anyone know how to achieve this?

what exactly is "the desired effect"?

for each stack to increase and decrease in height in time to the music like an equaliser

If you apply the eq effect to the audio before converting the audio to keyframes you can separate different parts of the audio spectrum. Then you can use the keyframes to drive the y position

Trapcode Soundkeys plug-in is a great solution to separating audio spectrum in a way that would make the desired effect achievable. Loads of documentation as well. The trail runs for 30 days and is a great tool to have in any mograph arsenal.

I would build one of the "stacks" as a comp.  On the first frame of the comp, I'd have the first layer in the stack, and on each progressive frame I'd add the next layer.
Then in my main comp, I would put the music track, and use something like Sound Keys from Trapcode or generate keyframes from the audio using a technique like this:
https://www.surfacedstudio.com/blog/vfx-vlog/after-effects-audio-to-keyframes/2
Once you have the audio keyframes, then you could use an expression to display a specific frame of your comp based on how loud the sound is on that frame.
once you've got that working, then I would think about applying this to more than one stack, and thinking about how to apply different behaviours to different stacks, either based on different EQ settings or maybe on a time delay, so the audio appears to ripple across the stack.

I guess, you want volume bars as in equalizers? Each bar in equalizer is a part of spectrum. You must calculate this this data.
I don't know After Effects good enough, so I don't know way to calculate part spectral part of sound. Maybe some plugins? If I can had such task, I can write some tiny app which will analyze sound and print data.
Plugin or external application must write data as keyframes in positions/scales of bars. You can copy-paste key frames and generate your own in text format.
When you have keyframes, just copy it to bar layout (or make this object as parent of bar-layer). Like you can do with tracking markers.
As workaround: you can draw traditional spectrum on picture, then place some motion trackers on it and track bars positions. Then you can transfer data to your custom-made bars. This is not perfect and some time consume, but it will works.


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ffmpeg rtsp over http not working
I put this conf on ffserver
HTTPPort 1234
RTSPPort 1235
<Stream live.h264>
Format rtp

Feed feed1.ffm
VideoCodec libx264
VideoFrameRate 24
VideoBitRate 100
VideoSize 480x272
AVOptionVideo flags +global_header
</Stream>

I stream with this command
ffmpeg -i file.h264 http://127.0.0.1:1234/feed1.ffm

When I watch this stream I can watch via udp and tcp on this url:
rtsp://127.0.0.1:1235/live.h264

but i want to stream with rtsp over http(http tunneling).
How can I do it please??

For requesting an RTSP over HTTP stream you would do:
ffplay rtsp://127.0.0.1:1235/live.h264 -rtsp_transport http


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Sites for learning the business side?
(Sorry if this is off-topic. I couldn't find any place more appropriate for the subject).
Most of the questions that are asked in this board, and most of the courses that you find when you search online for subjects like "video production", are related to the technical and creative side: how to learn Final Cut/Premiere, how to light a greenscreen, how to use a 3D program, how to format and write a screenplay...
However, I have found very few courses about the business side. Things like: how do film/TV rights get sold around the world, what's the decision-making process when putting together a TV schedule, how to decide which shows to develop...
To put in other words: most of the courses and questions I find are about learning how to be a good camera operator, editor, director... Where are to courses to learn how to be a... say, TV or production company executive?
I suspect that I'd have to join a MBA specialized in media, or something like that. Am I right? Are there any online courses (Coursera, EdX, etc.) that cover this subject?

Most undergraduate media programs have a "The Business of..." course in their curricula. It used to be "The Business of Television" or "The Business of Film". Nowadays, it is probably listed as "The Business of Media" or "The Business of Digital Media."
Unfortunately, those classes seem to be offered only intermittently. As an undergraduate I found the business class I managed to take essential for understanding the industry I was trying to break into. Now, as a seasoned professional, I cannot understand why those courses aren't required to graduate. But those aren't the fun or sexy classes, unlike the production classes.
The most relevant MOOC I could find was on the music industry. I suspect most media programs haven't adopted online delivery because of the difficulty in producing media without the group work you get with an in-person class.


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FFMPEG: Streaming over UDP over Wide Area Network
I am using ffmpeg to stream my desktop. It works perfectly over the LAN with two connected PCs; however, over a WAN, the reciever gets unviewable shearing and tearing of the desktop. We figured it was because the LAN has a 5 MB/s bandwith and the WAN has a bandwidth limitation 1 MB/s. When I checked the ethernet output of the sending PC, the bandwidth was 1 MB/s +/- .02.
The original ffmpeg script I used was within a batch file was:
ffmpeg -f dshow -i video="screen-capture-recorder"-vcodec
libx264 -preset ultrafast -pix_fmt yuv420p -tune zerolatency -r 30 -b:v 750k -minrate 750k -maxrate 750k  -f mpegts udp://ip:port

On the reciever side: 1. I opened the scream capture recorder GUI. 2. Inserted the appropriate udp address. 3. Hit "Start Recieving".
I did a wireshark analysis and noticed most of the packets I saw were MPEG TS packets with had "MP2T fragment of a reassembled package" in the description column.
My question is: has anyone been able to successful stream via ffmpeg over a wide area network with no issues of the recieving video? If so, what ffmpeg parameters did you use for consistent results?

Unless you are on a network that supports multi-cast, the host computer needs to have sufficient bandwidth to send the video data independently to every single viewer.  If you have multiple viewers, this will rapidly overwhelm any slow connection (and your connection, even on the LAN, is exceptionally slow).
What you need is a content delivery network or at least a media server with a sufficiently fast upload speed to feed the desired number of clients.  Your host would then upload to the media server or CDN and the clients would connect to the media server or CDN to get the relayed stream.


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BMD DaVinci Resolve 14.1 Studio Update : Quality of Title Text Rendering?
Does this quality now surpass what is possible using Adobe After Effects?

That's bit broad and subjective. Is there something specific you are trying to do? A specific problem you've had?

No, it wouldn't surpass it as After Effects has a full blown professional motion graphics system that can do whatever you want for a title.  Depending on your goals it it may be able to do as well, but Resolve isn't really a comparable product to After Effects if you want to get in to very custom work.
Resolve is really more of a parallel to Premiere than it is to After Effects.  Fusion is the product that is a parallel to After Effects, so it would be more comparable and just about anything you could do in After Effects can also be done in Fusion.  Both are advanced enough products that they have some differences in features, but are both extremely capable pieces of software.


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Is clip or part of a clip used?
Working in PremierePro CC.
70 hours of footage (shot over several months).
6 hours of finals (60 episodes in total), each done in separate Premiere project.
Problem:
Around 60 hours of footage is left unused, which can be used for another project but can not find an easy way to pull out unused clips.
I know how to use Premiere option for duplicate clips, but this option works fine only on small projects.
Is there a software that would grab all the finals and all the clips and do a comparison, and mark out clips (or part of the clips) that are left unused.

(Just in case you don't want to have to watch a two and a half minute "tutorial" containing about ten seconds worth of useful information)
There is a column in your project window that shows how many times an item is used.

It's not visible by default, you can make it so by right-clicking the column headers and choosing Metadata Display, then ticking Audio/Video usage in the Premiere Pro Project Metadata folder.

It's ready man.
Watch the tutorial that I've created:

Can you add some details about the steps in your answer?  Link only answers are of extremely limited value as they are dependent on the link to remain active or the answer becomes useless.  Tutorial videos are great for being easy to understand, but providing basic steps in text will turn this in to a much better answer.


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how to create photos flying in to voids video effect
Lets say I have a shaped collage of photos like in below video.

What I want to achieve is a small video where initially it is empty and photos fly in and fill the places in the heart shape or whatever other shape I make.

I would suggest working in reverse.  Start out by arranging all the images the way you want them to appear at the end and set position keyframes on all of them at the end of the sequence.  Then move to the beginning of the sequence and set keyframes on the positions and start dragging them all out of frame.  You can then drag the starting keyframes around to adjust when they start flying in and adjust the end keyframes to alter when they arrive in the collage.  Just keep moving the positions and the timing until you have something you like.


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Free software for batch basic editing and down-sampling
I have a bunch of TV shows in HD that I want to down-sample to SD and at the same time strip out the titles and credits.
Handbrake has great encoding and can handle batches, but I can't find a way to set in and out points.
I've tried the free ShotCut, which is perfectly capable to doing easy edits, but seems to be really slow.
Are they any recommendations for doing this sort of easy, but bulk work for macOS?

MPEG Streamclip or ffmpeg

The exact command to do this in ffmpeg under Linux is:
ffmpeg -ss 00:00:10 -to 01:00:00 \
       -i input.avi \
       -map_metadata -1 \
       -c:v libx264 -strict -2 \
       -r 30 \
       -s 960x540 \
       -c:a libmp3lame -b:a 384K
       output.avi

For Windows: same as above but strip out everything after the \ (including the \) and put it all on the same line.
where the following means:

-ss 00:00:00: strip 10 seconds from the beginning of the movie.
-to 01:00:00: encode everything up to 1h and drop anything afterwards
input.avi: the input file
-map_metadata -1: strip out all metadata
-r 30: 30 Frames per second
-s 960x540: Resolution for SD
-c:a libmp3lame -b:a 384K: Use MP3 VBR encoding up to a max of 384KB/s

I'm fairly certain you can do this with VLC 3.0+ or via the command line.
https://wiki.videolan.org/VLC_HowTo/Transcode_multiple_videos/
This can be done using the transcode/streaming options via the file menu in the graphical app. You can set the in and out and select all te files to process, as well as the codec and container format.

Can you explain, at least in broad strokes, how to do what the OP is asking for?

Woops, thought I’d posted this as a comment rather than an answer!

Thanks for the additional info @alan-kael-ball. I downloaded the latest nightly build and had a look at the transcoding options in the GUI. No options there to set in and out points. I'll look into the command line more and see if there is anything there...

I think if you do it from the wizard, you can select a playlist and the in/out times can be inputted under it. Heading is partial extract


text:
Concatenating video files — Primere sees audio track only
Like most, my camera splits files at a maximum length when it writes to the memory card.  I want to join them back up into one file = one take before loading the clips into Premiere, as that makes some things easier.
I’m running Windows, tried multiple versions of ffmpeg built for Win64.
The result plays in VLC just fine, but Premiere sees it as audio-only!  The maddening this is that this worked just fine in April, and the files I created then are still working in the current version of Premiere.
The command I use:
ffmpeg -f concat -safe 0 -i cat.txt -c copy p:\scratch\out.mov

where the cat.txt contains two consecutive files from the camera, the first about 4GB and the second less than 2GB.
The newly created file shows the following with ffprobe:

  Metadata:
    major_brand     : qt
    minor_version   : 512
    compatible_brands: qt
    encoder         : Lavf57.75.100
  Duration: 00:19:53.94, start: 0.000000, bitrate: 31461 kb/s
    Stream #0:0(eng): Video: h264 (High) (avc1 / 0x31637661), yuvj420p(pc, bt709), 1920x1080 [SAR 1:1 DAR 16:9], 29920 kb/s, 23.98 fps, 23.98 tbr, 24k tbn, 48k tbc (default)
    Metadata:
      handler_name    : DataHandler
      timecode        : 01:42:10:07
    Stream #0:1(eng): Audio: pcm_s16le (sowt / 0x74776F73), 48000 Hz, stereo, s16, 1536 kb/s (default)
    Metadata:
      handler_name    : DataHandler
    Stream #0:2(eng): Data: none (tmcd / 0x64636D74)
    Metadata:
      handler_name    : DataHandler
      timecode        : 01:42:10:07
Unsupported codec with id 0 for input stream 2

An older one that works shows:

  Metadata:
    major_brand     : qt
    minor_version   : 512
    compatible_brands: qt
    encoder         : Lavf57.56.101
  Duration: 00:21:08.89, start: 0.000000, bitrate: 30955 kb/s
    Stream #0:0(eng): Video: h264 (High) (avc1 / 0x31637661), yuvj420p(pc, bt709), 1920x1080 [SAR 1:1 DAR 16:9], 29416 kb/s, 23.98 fps, 23.98 tbr, 24k tbn, 48k tbc (default)
    Metadata:
      handler_name    : DataHandler
      timecode        : 22:39:33:15
    Stream #0:1(eng): Audio: pcm_s16le (sowt / 0x74776F73), 48000 Hz, stereo, s16, 1536 kb/s (default)
    Metadata:
      handler_name    : DataHandler
    Stream #0:2(eng): Data: none (tmcd / 0x64636D74)
    Metadata:
      handler_name    : DataHandler
      timecode        : 22:39:33:15
Unsupported codec with id 0 for input stream 2

I’m trying an older version of ffmpeg, but it makes no difference.
I don’t remember having to do anything different before, and I can’t find any difference in the files.


text:
add text overlay and image background to a video
I have a video that is composed of 3 parts: intro, outro and middle. in the outro and intro I need to add some text as an overlay and on the middle part, I need to change the background (which is one color) to an image I'll provide plus add a text overlay.
All the texts will appear at certain times, be displayed for few seconds in different parts of the video and disappear. The background image too needs to be displayed only for few seconds in the middle of the video.
Can you point me to something that can help me or give me few pointers that can help me accomplish this task? Thank you.

Too short to qualify for an answer - Premiere Pro, Vegas Pro, or any other competent video editing software will do this with a few mouse vlicks.

If you searching for automation solution, you can use ffmpeg and a small part of programming.

This is a broad request. You can do this with ffmpeg (or melt), but you should try to figure it out yourself and then come back here to address specific issues you encounter. See the drawtext (or subtitle) and overlay filters with enable option for timeline editing support.

The comments all suggest using an NLE (I agree), but given that your question is tagged with ffmpeg, here are a few pointers to documentation:
You can accomplish text overlay with the drawtext filter.

Draw a text string or text from a specified file on top of a video, using the libfreetype library.

For changing the background, you should look into the colorkey filter. From the docs, here's an example to "make every green pixel in the input image transparent":
ffmpeg -i input.png -vf colorkey=green out.png

As for timing, you should cross-reference if they support timeline editing.

Some filters support a generic enable option. For the filters supporting timeline editing, this option can be set to an expression which is evaluated before sending a frame to the filter. If the evaluation is non-zero, the filter will be enabled, otherwise the frame will be sent unchanged to the next filter in the filtergraph.

Again, this is probably better suited for an NLE, but it's certainly possible with ffmpeg, and will likely render significantly faster (at the tradeoff of likely taking much longer to craft the ffmpeg invocation vs. using an NLE). Good luck!

Pretty much any Non-Linear Editing program can do this: 'Free' versions include; iMovie (Mac), Microsoft Photos (Windows). KDNELIVE (Linux).
For more Professional apps, try the free DaVinci Resolve, or trial Adobe Premiere or Apple Final Cut Pro X.
Simply overlay the text on the edited video using that software’s preferes method.


text:
What are the chances to get copyright claim because of using a song in a youtube video?
Let's say I use a music in my video, which I upload to youtube. What are the chances (probability) that the copyrightowner will contact youtube and my video will be muted?
Are there any kind of statistics on this?
If there is - what are this probability depends on?

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

It's hard to say. In my experience, copyright analysis is near real time, and my experience has been that the algorithm identifies and blocks copyrighted material in minutes. No one needs to contact YouTube.
Most copyright holders simply monetize your video,  meaning ads will be shown and they get the advertising revenue. Others will block it until you blank out the offending material.


text:
How do you get the steadiest footage you can
The title says it all, How do you get the steadiest footage you can? I'm creating a film/movie/video with my friends, we hired a screenwriter too. But, back to the point how do you?Please help me.

As written, your question is way too broad.  If you lock down all your shots on a tripod, the footage will be steady.  If you want to move the camera, you can attach it to a TechnoCrane and it will be steady.  A better way to get answers would be to show specific problems you are having with your footage and ask for help about that.

If you want a static shot, then a tripod is your best option. Apart of that, like dolly or tracking shots there are various equipment's available and it all depends on what you want to achieve.

dont see what hiring a screenwriter is going to make a difference, you have various options depending on your shot and equipment. Tripods, Gimbals, Steadicam systems, dollys, cranes, the list goes on, you really need to research what each one does and what would be best for your shot that is being planned, there is no one system for everything.

you could always shoot everything on a tripod and add in camera shake after words to give it a more natural feel but again its all dependent on the shot, film style, etc

As Michael said, without more detail as to what you are trying to accomplish, this is not currently answerable.  There is an entire industry based around different ways to get stable footage and each approach has different advantages and disadvantages.  We can't give you a short and correct answer without knowing more specifics as to what you are trying to accomplish.

I use a DJI Ronin MX 3 axis gimbal. Recently used it to film mountain bikes and was literally running along side them without any shake in the footage. Highly recommend it


text:
Moving Multiple Layers on Timeline
This is probably a simple question, but I do not think I know the terminology to search for it.
All I want to do is move the start point of multiple layers forward without changing the sequence of them. I've tried all the features I can find to do this, but it always changes the sequence.
The first thing I tried was selecting the layers I wanted to move and then:

Animation >> Keyframe Assistant >> sequence layers
In the dialogue box, I left overlap unchecked and hit ok, this failed to do anything
In the dialogue box again, I checked overlap and tried all of the features, each time it changed the sequence of the layers

Next I tried

Moving the timeline indicators to where I wanted it
Choosing the option + open bracket key
This only seemed to change one layer, so I just undid it.

All I'm doing is trying to add one simple slide into a slide show and move all the slides after it, but it appears like I'm going to have to sequence every layer again, which is hard to believe that there would not be a simple way of moving everything forward without changing the sequence order.

There are lots of add-ons that help with stacking and layering in the way you describe - try pt_shiftlayers for example:
https://aescripts.com/pt_shiftlayers/


text:
Final Cut Pro X editing multiple overlayed images
This is less a direct problem more a query on the best way to handle things.  I do a lot of videos that end up with a lot of overlayed graphics, the videos are a boardgame and the overlays are the cards held in the players hands.  I cant video the hands so I scan the cards and overlay them afterwards in FCPX and then animate them in and out as required, but this leads me to have loooooads of layers in the end.  Im wondering if there is an easier way at all to handle this?

You could try to use a compound clip for the hand of one player with the cards inside. That would reduce the main timeline from look confusing with too many clips attached.

Do compound clips add overly to the background rendering?  And when I want to then modify the layout of the cards (for example as they are played etc bringing them to the center of the screen when the player announces they are being played) is there a way to go to that point in the compound clip easily or do I just have to note the time that Im at then go into it and scroll to the right point?

I am not sure about the background rendering but my guess compound clips have no effect. Normally I have background rendering completely off, as I mainly work with proxies. Just for the export, I change to original media. When place your playhead at the position you want to edit and click 'Open Clip' the playhead is at the corresponding position in the compound clip.


text:
Bulk video clip edits.
I am currently working on a timelapse project for a client in the construction business. I did not shoot the timelapse, but have all the video files on my computer. The camera that was used has a "warmup" time if you will, and the videos have a "fade in" effect. As you can probably tell, this presents a problem as the videos will be sped up rapidly, and it will create a strobe effect. I have hundreds of individual videos that need trimmed to get rid of this effect. Does anyone know of any software that will allow you to apply bulk edits to a large batch of videos? This would save me lots of monotonous labor going through one by one and trimming the clips. Any suggestions would be appreciated.


text:
How to create a doted effect over the pic or video?
See this website's background. It's amazing!
http://www.weblitesolucoes.com.br/
How can I create the same effect?

Which effect ?? the video ? the gray lined overlay ? please can you be more specific, there is nothing overly special on that page which would not be hard at all to reproduce from the video side, the rest would all be web coding via HTML, CSS, etc

This is simply an overlay done in the browser, not a video effect.  You can see the source video here.  It simply has a white dot repeated over it in browser using a png that's stored in-line in the CSS.


text:
Convert HLS stream to fixed FPS mp4
I am using ffmpeg to convert an HLS stream to mp4 using this command:
ffmpeg -i https://example.com/xxx.m3u8 -y -vcodec copy -c copy -bsf:a aac_adtstoasc test.mp4

I only have access to this video from the stream, and I need it in mp4 format to send on for processing, but I want to be able to set the FPS of the mp4, so that it is consistent.
The HLS stream looks like this:
#EXTM3U
#EXT-X-STREAM-INF:BANDWIDTH=264000
xxx/xxx007e.m3u8
#EXT-X-STREAM-INF:BANDWIDTH=464000
xxx/xxx0080.m3u8
#EXT-X-STREAM-INF:BANDWIDTH=768000
xxx/xxx0082.m3u8
#EXT-X-STREAM-INF:BANDWIDTH=1200000
xxx/xxx0084.m3u8

Is re-encoding ok? Why do you believe the stream is variable FPS? That is a master playlist with entries for variants. They don't represent differing framerates.

have you solved your problem?

You can use -r 30 to designate 30 fps for your mp4 output.
The whole cmd can be like this
ffmpeg -i https://example.com/xxx.m3u8 -y -vcodec copy -c copy -bsf:a aac_adtstoasc test.mp4

Try this:
ffmpeg -re -y -i https://example.com/xxx.m3u8 -map 0 -vcodec copy -c copy -bsf:a aac_adtstoasc test.mp4

See the new options:

-map 0 maps all streams from the input.
-re reads in the live stream HLS at its' rate. Not specifying this may result in FFmpeg hanging (as it waits for referenced packets that are not in the manifest).

It would be more useful if you could provide stream details, such as running mediainfo or ffprobe against the master manifest. That way we can recommend encoding settings to use.


text:
How to *integrate* every two frames of an existing video into one in order to compensate for low illumination?
Some mobile phones are able to compensate for low illumination conditions by integrating every two or more frames into one. The result is a video with variable frame rate, where each image has its particular timestamp. This kind of footage shows correctly illuminated subjects, but you notice the drop in frame rate because the movement is not fluid and also the images become noisier (because you are adding too the noise produced by the electronics). Anyway it seems a technological miracle for me, taking into account that the entrance pupil of such devices may not be larger than 1 mm in diameter.
But let's say you forced the phone to record at a fixed frame rate (e.g. 1280x720p30 with OpenCamera in Android). It should be possible to convert for instance 30p to 15p by adding the values stored in the corresponding pixels of each two frames into one. I know this process is possible because it is usual in other contexts, e.g. dealing with astronomical images.
My tools are ffmpeg and Blender. I would be thankful if someone can restrict the answer to these tools, though other solutions are also welcome because they might put me in the right track to look for suitable alternatives.

As you note, just adding (integrating) each pair of adjacent frames to make one new frame decreases the frame rate.
But if all you want to do is integrate adjacent frames, consider duplicating the video into a separate timeline, shifted by exactly one frame. Integrating these two streams would give you a new video with the same frame rate, but shorter by one frame overall.
All the rest of the noted issues might surface, but at least the frame rate wouldn't change.

This is a clever idea, but have you tested it? I'd better interested if there's any unexpected results.

@DigiVisionMedia - No, I haven't tested it. If I had the means to test it I would, as anyone could. As I said, any of the other issues mentioned might surface, and I'm sure that 'success' would be content-dependent. But it would accomplish the stated goal without changing the frame rate.

My own, not fully satisfactory answer that might be helpful:
This very simple line does the trick:

ffmpeg -i input vf "tblend=addition,framestep=2" {encoding options} output

E.g.

ffmpeg -i input.mp4 -vf "tblend=addition,framestep=2" -c:v libx264 -crf 16 -c:a copy output.mp4

input.mp4 was variable frame rate <=30, whereas output.mp4 is 15 fps. I could have specified a constant frame rate for the output file, e.g.

ffmpeg -i input.mp4 -vf "tblend=addition,framestep=2" -c:v libx264 -r 30 -crf 16 -c:a copy output.mp4

I will not accept my own answer, because the result of this process is an ugly superposition of the moving objects between consecutive frames, so that some kind of adaptive blurring is needed, hence I leave the question open for someone to give a better solution.

You asked for adding the values stored in the corresponding pixels of each two frames and that's what your method does. This will result in "ugly superposition". You may just want to use a filter to increase brightness.

Mulvya is the resident ffmpeg expert. -- Decreased Framerate allows the shutter to remain open longer gathering more light and astronomical image stacking relies on the extremely slow movement of the objects in question. --- With an existing video and motion each Frame has to be good enough there's nothing to add or stack. You can use curves to brighten only the dark portions, leaving the bright pixels alone. Does this answer work for you: https://video.stackexchange.com/a/13110/18314 ?

@Mulvya Increasing brightness produces very ugly results because of discretization noise. There must be some solution including something similar to frame interpolation or some kind of directional adaptive filter or something.

@Rob Mmm I think you are right. Probably the phone is not adding frames, but rather integrating more time in each frame (and shooting less frames per second too).

You can try to improve tblend method by stabilization image. But don't expect to much, your "low signal across few images" getting distorted by compression (quantization and so on).

With physics! All you have to do is record at 15 frames per second in the first place and use a shutter speed of 1/15th of a second (aka, a 360 degree shutter angle).  This effectively does the same thing as combining two 1/30th second, 30 fps frames with software, it just does it by letting light hit the sensor for twice as long in the first place.  No fancy math or computations necessary!

Please note the words existing video, in the title of the question. Which means that I cannot shoot anything. It comes as it is. Also, it is clear at several points in the question text that it is video recorded with a phone. No fancy options further than the frame rate and only after installing a separate app (that is also mentioned in the text of the question) called OpenCamera.

It was unclear to me whether you were actually asking about a phone, or using it as an example. Specifically, the language, "some mobile phones" and "let's say you" sound  hypothetical.  In fact, I completely disagree that "it is clear in several points in the question text that it is video recorded with a phone" because of this vagueness.  Maybe list smartphone w/ tools?  I admit that I may have overlooked the word "existing" in the title, but since there is no further emphasis on the uniqueness, criticality, authenticity, or whatever of your footage, I assumed it could simply be re-shot.

Furthermore, the only "fancy option" that I suggested you change was frame rate. If your camera (phone)/ software combination prohibits you from changing camera settings, you should mention that in the question and not assume that everyone knows what OpenCamera is, or force everyone to guess what model phone you have (because you haven't mentioned).  But if it truly is the case that you can't change these settings without installing a separate app, maybe it's time for a new phone anyway.


text:
Certain shades cause the video to become noisy
Consider the following video:

This was recorded with a Panasonic X1. Those containers were around 400 meters away; I was zooming all I could, but I was only using the optical zoom, not the digital one.
You'll see that there is a certain area of some of those grey containers which appears very noisy. The video has been compressed with a quite low bitrate; I can assure that in the original video it was much worse.
Normally I'd think that's because of the gain, but in this case there was zero gain. I tried to play with the iris and the shutter, but it stayed the same. I checked all the various settings I could think of, but nothing changed, except when I set the knee master slope to zero, in which case the noise was reducing itself a little, and when I set it to 100, where that gray became even noisier.
I'd like to know why it gets so noisy. Maybe you have an idea?
Consider it was quite of an hot day (around 28°C) and that noisy part seems like it was made with little reflective foils. It's possible that the air was hot enough to create those tipical optical distortions, which, given the distance, were maybe creating a continous series of hyper-illuminated dots, which ended up being perceived as noise by the camera. This might explain why I was having some success playing with the slope. But I don't know, this just looks like a whole lotta noise, not like hot-air optical distortions.

Looks like compression artefacts from the camera. Can you use other profiles with that camera?

There is no option for "profiles", but I see that the profiles are called differently between different manofacturers. Here I can change the "gamma mode" to eight different options, and that should regulate the contrast and tone, and I can change the "matrix" to five different options, and that should in fact change the kind of colours, so maybe thats it. I'm not sure which one I was using, though. Actually I remember that I played with a lot of options and I think that I tried to change these as well.


text:
How can I really see the benefits of 10-bit footage?
I want to see the benefits of 10-bit footage in software like Premiere Pro. To me it behaves exactly like 8-bit video. How can I "see" the benefits?

REC 709, the current standard for HD delivery (and YouTube), really only requires 5 stops of dynamic range (since the legal range is 16..235 out of a full scale 8-bit encoding 0..255).  Now, in much the same way that a 2x4 piece of lumber is milled from a starting point of 2"x4" down to 1.5"x3.5", an 8-bit encoding gives one the freedom to shave down the highest and lowest bits (where noise lives in the shadows and where clipping occurs in the highlights) and still have one more bit of slop to adjust brightness.  Which is not very much room to be creative.
A 10-bit source file allows for two bits more dynamic range that can be used to pull down highlights or lift shadows.  That may not sound like very much, but against a delivery format that encodes a total of 5 bits, it's quite a lot!
Now, it's true that with careful processing (especially noise reduction), one can make more use of the top and bottom bits of dynamic range, which means even more opportunity to stretch the dynamic range of the source material to conform to the intended tonal range of the output format.
Another place where 10 bits becomes essential is in the world of HDR video.  YouTube now supports HDR playback on devices that support HDR10 (and Dolby PQ).  HDR 10 really does can use all 10 bits of dynamic range, but as Ansel Adams teaches in his books on The Zone System (The Camera, The Negative, The Print), the art of photography (drawing with light) is not merely creating a 1:1 mapping between acquisition and exposition, but in how one chooses to distribute the tonal range to best effect.  Starting with a full tonal range in the source makes it that much easier to push things around to get them where you want them to be on output.

Most of the time your video is going to be viewed in 8-bit colour, often with lower chroma resolution. If it's on the web or broadcast it's also going to be compressed to a varying amount. So it's a good question why you would bother with 10 or more bits per-channel.
The main advantage of 10+ bit footage is before the final delivery. When you are grading or adjusting the colour having 10+ bits is massively useful, because you have a lot more information available to work with. For every level in 8 bit footage there are 4 more in-between levels in 10 bit footage per channel, meaning 64 times as many available colours. So if you're pulling down the highlights of an exterior shot that's a bit overexposed, you'll see details in clouds, instead of your whites just going uniformly grey, or if you're changing the colour balance it won't start to look solarised.
10 bit footage also has four times as many steps available in a gradient. Say you have a gradient that goes from black to white across the width of a frame (1920 pixels), in 8 bit footage there are only 256 possible colours the pixels can be: [0,0,0] to [255,255,255]. That means each of those colours will have to be spread out across a few pixels: 1920/256 = 7.5 pixels wide (on average). So you'll clearly see the bands. A 10 bit image with the same gradient will have bands less than 2 pixels wide. Go to 4k and the problem is magnified by 2, and for more subtle gradients the problem is even worse. Even for display purposes 8-bits starts to show a lot of banding in 4k.
Even if you're delivering in 8-bit having the extra information available when processing the video will lead to visibly better results.

Only when an image Is pastel like or has low gamma where the depth of colour is stretched to see the visual resolution steps .  These quantum affects of eight bit colour that will be four times better (smaller) with 10 bit.  However DAC linearity must be equally better which are often not so great if viewing such content. In high contrast imaging , it would be hard to notice the improvement , but in shades of grey quite an improvement.
I use DPT.exe a free tool to calibrate my desktop and video and these weaknesses are obvious there. But the LowFi listener probably won’t recognize the difference.


text:
Need culturally sensitive alternatives to standard videography terminology such as "shoot," "shooting," and "shot."
The idea of "shooting" makes some people uncomfortable, so we're trying to change our terminology for a particular client (big 6-month project). We need to come up with appropriate alternatives to use for terms in all of our written plans and processes for this project. And though there are many terms we can use, I'm wondering if there is a new standard or commonly used alternatives. We need alternatives for "shoot," "shooting," and "shot."

What about:

film, filming, filmed
record, recording, recorded


text:
How blockbusters movie producers deal with 8K videos editing
Rendering 45 seconds of 8K video on latest iMac Pro using Adobe Premiere takes about 24 hours.
How blockbusters producers deal with such a high-res format to edit and transform a large amount of scenes and render them without spending a year?
Idea 1:
They use clusters of "general public computers" (eg. iMac Pro) to dispatch rendering and increase CPU performance (and therefore rendering duration)? If so, how many of them in average?
Idea 2:
They deal with a lower resolution format, then all modifications applied are saved as an "history", and this history is then applied to the higher resolution format, on a distant high-scaled server cluster which only replicates transformations recorded?
Disclaimer: I'm totally noob in this field but my i7 MacBook Pro almost die when playing a compressed 4K video, so I'm pretty curious of various techniques used by professionals to seamlessly deal with 8K videos on such a volume of data.
Thanks a lot!

This is a bit too broad a question as editing workflows cover a lot of ground. Can you narrow your questions down? Also, high end studios tend to be secretive about their exact tools and methods as they are considered to be part of their competitive advantage. If you want to know more about your Idea 1, search for render farms and for your Idea 2, search for proxy editing and edit decision lists (EDLs).

Thank you so much @MichaelLiebman, that's exactly what I was looking for, I didn't even know which keywords to type in my Google query — and I'm pretty sure it's gonna help curious but noob people like me in the future. Wish I could "accept" your comment!

I'd add "offline" and "roundtrip" to the list of search terms for #2.

The answers are easily discovered by reading trade publications and reviewing videos posted by industry insiders.  Industry professionals don't keep secret things as simple as how they deal with 8K workflows.
 Indeed, they talk about it so as to signal to prospective employees and customers that they are 8K-ready.
That said, your question is impossible to answer because it relies on false assumptions: I have an iMac Pro, and I can render 8K video in realtime or near-realtime (I don't have the most powerful model).
Your question is also vague, because 8K video can mean many things: it can describe the acquisition format, the exhibition format, or both.  Again, it is straightforward (with the right CPU/GPU/IO subsystems, costing less than $10,000) to render 8K source material to a variety of exhibition formats.  With the recently released "consumer" 8K displays (costing ~ $4000), Linus Tech Tips [showed how to hook up not one, but two 8K displays to a single GPU],1 further demonstrating that while it's not cheap, it's neither esoteric nor prohibitively expensive for anybody who can afford to spend sports car money on their computers.
Finally, and this may be the most helpful aspect of the answer to your question: proxy files remain the preferred way to scale video assets to gigabit network bandwidths and laptop levels of performance.  It is also preferred by VFX houses which may have hundreds or thousands of layers of textures, plates, effects, etc.  Compositing thousands of layers is not a real-time process, and there an 8K rendering pipeline can really gum up the works.  Again, the trade publications have many articles explaining the process for creating the proxies, applying the effects, and then rescaling to exhibition format.
As tools, techniques, and technologies are rapidly advancing, the best way to get the latest answer to such a question would be to search for "8k workflow".  Add "youtube" if you want to see a video that answers your question.  Add "vfx" if you care about that.  Add your favorite movie title and maybe that will hit as well.  For example: searching for "8k workflow vfx guardians of the galaxy" led to this article about Guardians of the Galaxy2, which covers in detail your question.

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