text:
Sony Vegas Pro 13 forgets to render some frames in my video
I'm not completely sure what's going on here but let me visualize my problem through videos.
Here's is what my Preview window shows.
And this is what Sony Vegas Pro 13 renders into an .mp4 720p60FPS.
So as you can see, Sony Vegas Pro 13 seems to be skipping a few frames throughout my video, but it only seems to do it where I have very heavy edits as you can notice in the final render.
I am using plugins from Sapphire Genarts OFX, Red Giant Link's Magic Bullet Looks, Boris FX Plugins, and build-in plugins from Sony Vegas Pro 13 itself, is it because there is any incompatibility between the plugins, or is this a bug in the program itself, or should I change anything in my projectsettings, etc?
FYI I have rendered this in 3 possible ways; .avi .mp4 and .avc but so far all 3 of them give me the same result but on different frames throughout the video, but still on the heavily edited parts only.

What's the frame rate in your project settings? And in your render? 59. 94 or 60?

@Mulvya My project template is 1280x720p 30FPS and my render is 1280x720 59,940 FPS.

I just noticed that if I put my project to 59,940, or 60FPS, it seems to be stuck on those exact frames as in my render, anything I can do about it?

Can you render a small portion surrounding these frames as an image sequence and check?

@Mulvya I still get the same result.

Identify a missing frame and render only that. Create a region for that 1 frame only.

It seems the video clip itself just freezes but the plugins in the clip are still doing their work as I told them to do.

I know this reply is 4 years past, but hopefully its of some use to someone. But I found that matching your project/raw files to match your output fixes that issue for me personally, so if I have a 1080p30fps raw file, the final render needs so also match 1080p30fps, if you "upscale" to 60 fps, you'll have ungodly render times and paused/skipped frames.


text:
Generate TS files for HLS VOD streaming with ffmpeg dynamically on request
I Have huge archive of diferent (even older formáty like AVI) video footages and no place / time to reencode. I would like to implement web based browsable catalogue and want to let video play via HLS streaming. Have implemented own webserver in .net and wrapped ffmpeg to be able work with video. Thumbnails Jpg generating done successfully. Question is how to call ffmpeg to genetate single TS file from the midle of some very long file when webserver is asked for. I understand that it is easy to pregenerate it before, and let the webserver just serve the existing files, but it is not the way in this case. I would like to pregenerate just m3u8 files planning split for example by 10 sec fragments of some defined quality. And then i would like to let webserver wait for TS file requests and serve them dynamically as it goes. So need is to call ffmpeg generate TS file of specified duration and offset from begining of file. Is it possible? Thanks in advance for any help.

FFmpeg, can of course, generate a file of specified duration and offset. ffmpeg -ss 4000 -t 10 -i fullfile.mp4 -preset faster -g 50 VoDfile.ts. If you need to create segments, ffmpeg -ss 4000 -i fullfile.mp4 -preset faster -g 50 -f segment -segment_time 10 VoDfseg%d.ts

source: Stack Exchange

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

sort: votes


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Do they use books when studying Film at an university?
A few friends of mine, told me, that they do not have school books at university and most of their work is "hands on".
I'd like to learn this stuff too. However, it's hard to learn the craft, if I don't have access to the learning ressources (classes). If I, for example want to learn about Medicine, I can look up the curriculum online and order the accoarding book from the internet.
Now here is my question:
Are books used to teach film at universities and if so, what books are most common used?
Is there a "bible", a book that has been read by most of the proffessionals, or one that they reference to? What is recommended for reading?
I know, this might differ, from Job to Job, but I'd like to get a broght understanding of all the different crafts involved as well as the pipeline.
This might sound oppinion based at first, but I'm asking about, what is actually used in colleges, universities and by proffessionls. However other book suggestions are welcome in the comments.

When you say "study film", which aspect are you thinking of? Media theory? Criticism? Writing/directing/producing? Technical production?

Writing/directing producing/ animating/editing/color grading...

Yes, a good program should have books in at least some of the courses.  A lot of stuff is best learned hands on, but the history and why of things is very helpful to have good books as resources.
Unfortunately, the book choices tend to change over time because the pace of change is pretty high and while a lot of the why and older history stuff doesn't change, the practical side of it does, so books can change and be updated fairly frequently.  I was in college back in 2002-2006, so my books are all pretty old now and I don't remember what most of them were anyway.
At a practical level, you don't really reference back to any of the books from college much though.  It's more just background information and teaching you the way to communicate using the medium.  It all just becomes part of your toolkit and you don't really think about it too much after that unless you're dealing with someone without any of that background and having to explain it in your own terms.

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


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Parent Pick Whip Not Showed On Effect Transform Keyframing
I wanted to parent the effect transform expression to the tracking motion (null object)
When I saw the tutorials.. it showed me to click and drag the pick whip, but on my after effects there are no pick whip on the side of transform value

Expressions aren't parented. They use the same kind of widget but it's not the one in the parent column.
You need to enable expressions on the property by alt-clicking the stopwatch. Now you'll see the expressions pickwhip, as well as the dropdown with the expressions menu and so on. You'll know that expressions are applied because the value will turn red.

If you arrived at this question because you have a whole layer and not just an expression but still can't find the pick whip option, try right-clicking the tool bar, going to "Columns" and enabling "Parent". Video demonstration.

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


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Reduce render file size in After Effects CC 2017
I'm using Adobe After Effects CC 2017 and I want to reduce the render file size. However, I Googled all day and I cannot find any for CC 2017. All of them says that change the format to H.264 but we cannot do that in CC 2017. Please help me.

What codec and container are you exporting to now? How big are the files you are getting? How big do you want the files to be?

To render H.264 it's actually very easy.

From your Project window, select the sequence you wish to render.
Right click->Export Media (or File->Export Media)
In the Video tab, select H.264 for format

Then, in the basic video settings below, you can change to smaller-than-original resolution, low bit rates, etc.
If you are trying to export a Quicktime file that uses H.264, that's much more challenging.  When you select Quicktime, Premiere Pro gives you a useless menu of Presets that were relevant for about six months during the early 1990s.  Ignore all of them, as they are stupid.  Instead, look down to where there's a Video Codec selector.  Click on that and you'll see tons of options, including H.264.

Can you explain a bit more detail? I'm using cc 2017

I remember searching for this all day long some months ago.
Adobe seems to have discontinued some of the options that were available in previous versions of AE.
You'll have to get your hands on Adobe Media Encoder.
Once installed, it will appear as an option under Composition in AE, saying Add to Adobe Media Encoder Queue, just above the regular Add to Render Queue option.(Prior to installation, this is greyed out.)
Click on that and all the good old export options will appear.


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I use FCPX, curious on how I can put a non-360 clip into a 360 video?
I have some drone footage that is not in 360 that I really want to put into my 360 video. Everything else is shot in 360, is there a way to show the non-360 clip without it looking terrible?

It looks like the Dashwood 360 VR plug-ins have a plug-in called Project 2D on Sphere that allows you to put 2D footage into your 360° panorama:

The Project 2D on Sphere plugin can be used to place logos in your 2:1 equirectangular projection

It has a variety of other useful tools, too.


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GoPro 240 fps has duplicate frames
Is it a normal thing for there to be duplicate frames when looking at video footage?  I am looking at video frame-by-frame from a GoPro Hero 4 Black and sometimes there appears two frames in a row that are identical.  In a 20 frame segment there are maybe 6 duplicates seemingly at random.
Is this normal for digital video cameras?

With 240 fps, the time difference between two frames is just over 4 miliseconds. Maybe the scene just didn't change within that timeframe?


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Premiere proxies no audio, codec issue?
I'm away from my main desktop, and working on my underpowered laptop. I'm creating proxies for some .MTS files that a client gave me (I don't know which camera was used). Unfortunately after Media Encoder generated my proxy files there is no audio. I checked the original source video file in encoder and it says it has no audio, even though there is audio, and it is recognized in premiere. Note: when I first important the original video files into Premiere it said it had to install a Dolby codec and did so.
Any idea how I can get audio from the original files recognized in Media Encoder so I can generate proxies with audio?
Here is a sample video: http://www.filedropper.com/intro1jan

Renaming the files to .m2ts seemed to have solved the issue.


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How do I keep a pattern overlay layer effect from moving around separately when animating?
How do I keep a pattern overlay layer effect from moving around separately when I do a rotation of the object the effect is applied to in After Effects? I created this composition in Photoshop and imported it into After Effects. It is almost correct except that the scratched metal pattern isn't following the rotation of the gear shape. It moves in a different way. See example here: https://cl.ly/3x2L2P2S2X3K Thank you.

Link is broken. Flagged for closing as "needs clarification".

Delete any motion or rotation keyframes in the overlay layer. Now line it up with the gear layer as you want, then make the gear layer the parent for the pattern layer.
To set a layer's parent you need to have the parent column visible in the timeline window. If it's not visible, right-click the column headings and choose it from the list. In the parent column you can then use the drop down to select the layer's parent or drag the pick-whip (the little spiral widget) to the chosen layer.

Thanks @stib I have located the parent column but there are no options for parenting the gear with its pattern overlay because it is a layer style. See here https://cl.ly/2R3J062Z3d0c Maybe this isn't the best way to be setup for this transformation. Anyway, parenting with the later above doesn't solve the problem. It looks the same as in the example render.

Oh, ok, probably the best thing to do would be to precomp the gear layer (Layer>Pre-Compose) before you parent the precomp to its parent.


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Video compressed with ffmpeg is distorted when opened in cs6
I compressed output video from fraps with h264/aac with ffmpeg but this results in distorted video in adobe cs6.
How can I fix this?

Need more info. Full ffmpeg command and console output. And screenshots of before and after.

Thanks mulvya, im new to this and did not think to check against the console output.

I fixed this by using the flag -pix_fmt yuv420p, for some reason the default pixel format is not supported in premiere pro cs6.


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Pop out a shape out of another shape
How do I do a 'pop out' effect from one shape out of the other?
Right now I have this:

But I would like if the shape visually appeared out of the left 1.  So like it stretches and then comes bursting loose. I don't know the right terms for this, so looking for a solution hasn't been easy.
How do I achieve this effect, and what is it called?
Thanks!

It's a little unclear what exactly you want to happen, which I think is the source of your problem. If you can work out exactly what you want to see that's most of the job done.

I feel like I kind of understand. But in any case i can't explain how to do it, it's sort of trial and error with scale and position key frames and apply a bounce expression maybe

For simple shape and best result you can do it frame by frame, drawing each morph state separately
For more complex shapes, I will advise:

Move second object (and maybe scale it from little size to normal) from behind first one
Bend part of first object outwards slowly, while new object appear (simultaneously with point 1)
In the moment, when second object is fully separated from first, first object shall rubber bend back with bash, as cartoon character, who was hit with the bat in the head, or as water surface, after water drop hit it.

To fully understand, what I mean in last point, look at this:


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Premiere Pro CS6: how to change color of a clip as time progresses?
I am trying out a few things for PPro, since I'm new to it (coming from Camtasia Studio 8) and I'm wondering, since a lot can be done, is it possible to not have the clip with a black and white effect, but have it 'walk along' the whole color spectrum?
In Windows Movie Maker for XP there used to be an effect like that, so you can see what I mean here:

As you can see, the color of the clip is never the same.
Can this be done somehow? A ton of Google and Youtube searches have not provided me an answer to this question; most hits are about Color Correction and I couldnt really see anything that came close to this.
Thanks in advance!

DiaborMagics

There are several ways to do this. The basic idea is always the same: You overlay a color and then animate it's hue. To get rid of all other color, you can either convert the footage to black-and-white (which can again be achieved using different techniques) or put the color on an adjustment layer with the blending mode set to color. This is the preferred way to do it, since this way, you can apply the effect to your entire scene at once. Here's a step-by-step guide on how to achieve this effect using the Lumetri Color workspace (which is not available on CS6 and earlier versions).

Create a new adjustment layer (File → New → Adjustment Layer) and put it over your video clips in the timeline of your sequence.
Select the adjustment layer in the sequence and change to the Color workspace (Window → Workspaces → Color). The Lumetri Color panel should now be on the right side of the program window.
In the Lumetri Color panel, under Basic Correction, reduce the Saturation to 0. Your video should now be black-and-white.
Under Creative, set a color for the Shadow Tint and move the Tint Balance slider all the way to the right (100). Your video should now be monochrome.
Open the Effect Settings panel (make sure the adjustment layer is still selected) and find the Shadow Tint setting under the Lumetri Color effect (this one is automatically applied once you change a setting in the Lumetri Color panel). Hit the stopwatch icon to activate the animation for that effect property and set the first keyframe (make sure the playhead is positioned at the first frame of the adjustment layer first). Now it's time to get creative, set keyframes at appropriate intervals and change the Shadow Tint to different settings every time. Premiere Pro will interpolate between the values, giving you the color transition effect you wanted.
Optional: Under Opacity, set the blending mode of the adjustment layer to Color. This way, the original luminosity values are preserved, making the effect more subtle. You can also try Hue for an even more subtle effect or change the opacity of the adjustment layer. This will reduce the color overlay effect, allowing some of the original clip colors to come through.

Workaround for CS6
Since the Lumetri Color panel doesn't exist in CS6, you will need to use another color correction effect instead. The basic idea will stay the same though. You can for example use the Tint effect in the same way as described above (you will have to set keyframes for both Map Black To and Map White To, since there is no balance slider in this effect). With the introduction of the Lumetri Color panel, a lot of the old CS6 color correction effects got deprecated in the new CC version. If you are still on CS6, you could for example also use the Three-Way- or Fast Color Corrector to get similar results.

Or just do it in After Effects using Layer Styles → Color overlay, set the Blend Mode of the effect to Color and animate the Color.

oh thank you very, very much for this thorough explanation! I'm going to try that out as soon as I can!

@DiaborMagics If this works for you, feel free to mark my answer as accepted ;-)

I'm sure your answer is correct, I'm just a noob. I indeed use CS6 and I can add the adjustment layer and Tint effect, but man.... blending colors the right way and animating that is difficult, especially if I want to cross the entire color spectrum. All my attempts so far..... are just plain terrible :S
Probably also has to do with my lack of understanding when it comes to colors and computers, color correction and proper blending with the million settings per slider, now for 2 sliders, across an animation :P Are you sure theres no drag-n-drop effect for this? XD

@DiaborMagics Sure? No ... there's always a hidden submenu somewhere in Premiere that will do exactly the thing you want it to do, the only problem is to find it ^^' But as far as I'm aware there's no Layer Styles in Premiere Pro, so no color overlay ... I also haven't found a way to cycle through the color of e.g. a solid color layer ... do you have After Effects? Since it's really easy with AE, see the sidenote in my answer.

Like I explained in my own answer above I have found a way to cycle through the color spectrum and its really easy. The only downside is that its doesnt change every detail to the respective colors, but is indeed more like a color filter; the more intense you set the color, the more of that color you see and the more footage turns into that color, but that also sacrifices a lot of detail. Like a strong filter... if you get what im saying :P

@DiaborMagics Your solution is the same as mine ^^ Notice in the paragraph about CS6 workarounds I recommended the Fast Color Corrector as an alternative to the Lumetri Color Panel. If you don't want any of the original color to come through, set the saturation to zero in a seperate adjustment layer or effect (below the color one). If you feel the Fast Color Corrector doesn't give you enough options, try a more elaborate effect such as the Three-Way Color Corrector, they will give you more control over the color adjustment

Okay, since I think I just found a good solution for noobs like myself, I will add this as a separate answer and indeed one to my own question.
In CS6 PPro, I found the 'Fast Color Corrector' effect. This one is very powerful and a lot faster indeed. I accomplished a much better result than before in mere minutes.

Create an adjustment layer and put it over the clip/sequence/entire film, whatever you want, like in the previous answer
Go to the Effects tab and search 'fast'. Then find the Fast Color Corrector and put it on the Adjustment Layer on the timeline
Make sure your playhead is at the start of the Adjustment layer (for me that was 00:00 so that was easy)
Set Balance Angle to 140, so that you get too much green
Adjust Balance Magnitude until you're satisfied with how much green you see
Check your color range by scratching Balance Angle from 0 - 360
Set the Balance Angle to your starting point, which may be 0, or whatever else you want
Click the Balance Angle stopwatch to set a keyframe
Drag the playhead to the end of the Adjustment Layer; if you're at the end and want to refine where the playhead is, you can use the left and right arrow keys
Add 360 to your initial starting point to move across the spectrum
If you wish to move across the spectrum twice, or more, just add more Adjustment Layers next to each other to mark the beginning and end of each cycle and repeat the steps to animate the effect
EDIT (this item wasnt on the list before) Its a good idea to select the effect when done, or select all applied effects and right-click -> add preset, so that you can apply is more easily next time

11B - Something I just noticed is that you can move across the spectrum twice or more, simply by adding more cycles to Balanc Angle. So if you start at 0 and wish to move across once, stop at 360. Otherwise, simply use 720 or more, to move across twice or more.


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How can I copy and paste transitions in Hitfilm 4 Express?
I'm editing a project in Hitfilm's timeline editor and was hoping there would be a faster way to apply the same transition to the beginning and end of several images. Can I copy/paste/sync/apply to all?


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DaVinci 12 - Noise Reduction Strategy
What would be the best order to apply these node adjustments to ProRes HQ 4K footage in DaVinci Resolve 12:

Colour Chart
Primaries
Saturation
Sharpening
Noise Reduction

Thanks in advance.

I'm not a professional colorist, but I do care a lot about color. (I run a fully ICC controlled workflow.)  I would personally start with either noise reduction or color chart, depending on how noisy the footage was.  Reasoning being that if it is too noisy, then the samples off the color chart may be impacted.  It's also true that the denoise process may cause corruption of the color data from the chart, but if it is so noisy that the information effectively isn't there anyway, it isn't going to matter a lot.
Doing the noise reduction will impact the precision of information in the scene, but hopefully reduce visible artifacts.  I generally try to do it as late as possible but as early as necessary.  Each step of the process has a chance of making noise worse and at a certain point, it's going to become harder to deal with if you don't deal with it before making more changes, but that's a somewhat variable place depending on the type and quantity of noise and your level of comfort in dealing with it well.
Color charts are going to give you a decent baseline.  They are all about getting color in spec.  They aren't giving you a particular look, they are just getting you a starting point where certain known colors will match spec for whatever colorspace you are working in.
Primaries are going to develop the actual look and feel of your image to the way you want it colorized.  This is where you will do most of the fine tuning to get the tone you want after starting from a well placed baseline from the charts.
Saturation may be adjusted a bit while working on the primaries, but I largely find I work with saturation after most of my primaries work is done.  This will impact the strength of the color and may very well result in additional refinement being needed in the primaries, but the closer you can have the primaries before adjusting saturation too much, the faster I find my workflow personally.  It's also worth noting that if you know you will want a somewhat pastel image or a more vivid image, it may be worth messing with saturation to get it in roughly the right range prior to doing primary work as drastic changes in saturation will have a larger impact on your primaries work.
Sharpening is almost always at the end and generally after noise reduction, but it does somewhat matter what you are trying to accomplish and how noisy things are.  As sharpening looks to make edge contrast higher, it will tend to greatly amplify any noise, which is why it is generally done after noise reduction.  It is also done after coloring since the coloring will impact the edge detection of sharpening.
This only reflects my process and isn't necessarily shared by everyone, but I find it works well for me in getting good results quickly.  There's always going to be a degree of going back after the fact to correct things you notice later as you are further refining the image, but that largely will come from experience of working with color and being able to recognize what your goal is and what primary and side effects different adjustments will have.
Edit: Just noticed you were asking about node order, not adjustment order.  I'd go with Color chart, primaries, saturation, sharpening with noise reduction entered based on where it is needed.  Saturation would probably be reversed with primaries when doing a non-natural color look.

1 - Colour Chart / LUT: Start from your desired color workspace.
2 - Denoise: First after LUT. Especially if footage is noisy. Steps 3 and 4 will likely only worsen noise issues, depending on how you grade.
3 - Primaries
4 - Saturation / Vibrance
5 - Denoise Again on per Channel Level
6 - Sharpening


text:
Broadcast tv setup.
Hi there I'm in business and I'm looking to expand. I think there is a vast need for broadcast tv in my country  (Jamaica). So I'm exploring what it takes to get setup and all.
I want to know if there is a way to broadcast multiple channels simultaneously from one location, as in can i only have one broadcast tower and shoot more than 1 channel from that. I would like to do a entertainment, kids, news/weather channels. All advice and input are welcome.
Thanks

You might also be able to get advice about this on the Stack Exchange Electrical Engineering community.

Yes, you can broadcast more than one program service (channel) from a single location. This is fairly common.
For analog over the air (NTSC), you can use combiners and a broadband antenna. (See, for example, Whitaker & Benson, 2000 chs. 15 & 16)*
For any of the digital over the air or satellite delivery standards, multiplexing is part of the standard.
For fiber optic delivery to a cable headend or contract uplink facility, similar multiplexing technology is available, like from Evertz, Ericsson, and many others.
* The newer edition of this book, and many other video engineering texts, dropped the analog systems discussion because of the transition to digital in the US.


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Livestream outdoor sports
I'm looking for a camera to set up to an outdoor tennis court and stream to youtube. I'm not sure what the best way of doing this would be and am looking for guidance.
The way I see it is either I get an IP Camera and livestream directly through it to youtube, or get a (preferably wireless) webcam and stream it through a dedicated PC.
I have done some tests and am successful in streaming with a webcam hooked up to my laptop, then encoding through Open Broadcaster and stream to youtube. What I'm looking for is a simpler system, where I can in the best of worlds just press a button and start streaming.
Any recommendations on type of camera etc. is greatly appreciated!

If you cannot get your video to a wifi uplink; you will eat through your data very fast on your phone.
I speak from experience. Each carrier tower (a cel phone on a carrier only connects to a single tower at any given moment), is a standard T1 line.
One phone will not be enough, if call volume spikes; your uplink bitrate will be bottlenecked by your carrier.
The solution; if this is a serious project, is to build a streaming cel phone package. You want to use rather than phones, the 4G hotspots, which have both USB and wifi connectivity. Although phones work too.
Then you want a product like the Cradlebridge Bandsteering Router, powered off a portable 12v battery source.
The Cradlebridge Routers can use multiple network connections; my unit has 2 USB and 4 CAT5 + Wifi, which it can then, use multiple uplinks; steer the data, and make sure it gets there in the correct order at the right time. Literally, switching between your phones from say ATT, Verizon, Cingular, Sprint, etc; in case you get sqeezed off one or more of your uplinks.
At best-- best... you can expect a consistent 150-200kbps uplink on a single cel line over the LONG run. Thats not to say small uploads and videos don't go up in a snap, but a long run game... you will get squeezed out bandwidth wise. Again, doing a 20 second speed test is not going to give you realistic results for long uploads. The tower on one carrier will allow a burst, fast upload, for say 30 seconds, but then watch it drop.
So you tether 4 carriers together, each carrier will be working of a separate tower... and then use LiveStream to broadcast.
It's harder, and more frustrating, than you would think.
Lastly, do the math, on a single cel line at 200kbps x 1 hour... how many GB will you go through? Unless your data is unlimited.

The simplest Setup is use your Phone and the YouTube APP.
See point #2: https://support.google.com/youtube/answer/2474026?hl=en&ref_topic=6136989 .
You can also use the APP LiveStream, from LiveStream, and serve your Video from them.
There are quite a few APPs but those two are free and more trustworthy than some you might encounter.

Thank you. I guess phones would make everything very easy to set up, and you can just build your own windshield to protect them. Supplying power won't be a problem either.
I do need 3 cameras, since there are 3 courts. Do you have any recommendations for affordable phones with good cameras? :)

To find an affordable Phone use a Search Engine to search for "Best 2016 Phone" (or Tablet). - EG: http://www.zdnet.com/article/10-best-smartphones-for-the-2016-holiday-season/ - all good; like the 'Best Camera' the best phone is the one you have (or is for sale in your area).


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Tracking editor responsible for creating a video
I have videos created by me in two different editing software with the same extension. Is it possible to trace the source of these files?

Adobe apps may wrire XMP tags in the output which conceivably could carry ID info, but usually I don't see any.


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ffmpeg: joining videos leads to "time skips" during playback
I hope that someone can help me. I have the following two videos:
$ ffprobe 0.ts
ffprobe version 3.2.4 Copyright (c) 2007-2017 the FFmpeg developers
  built with gcc 6.3.1 (GCC) 20170109
  configuration: --prefix=/usr --disable-debug --disable-static --disable-stripping --enable-avisynth --enable-avresample --enable-fontconfig --enable-gmp --enable-gnutls --enable-gpl --enable-ladspa --enable-libass --enable-libbluray --enable-libfreetype --enable-libfribidi --enable-libgsm --enable-libiec61883 --enable-libmodplug --enable-libmp3lame --enable-libopencore_amrnb --enable-libopencore_amrwb --enable-libopenjpeg --enable-libopus --enable-libpulse --enable-libschroedinger --enable-libsoxr --enable-libspeex --enable-libssh --enable-libtheora --enable-libv4l2 --enable-libvidstab --enable-libvorbis --enable-libvpx --enable-libwebp --enable-libx264 --enable-libx265 --enable-libxvid --enable-netcdf --enable-shared --enable-version3 --enable-x11grab
  libavutil      55. 34.101 / 55. 34.101
  libavcodec     57. 64.101 / 57. 64.101
  libavformat    57. 56.101 / 57. 56.101
  libavdevice    57.  1.100 / 57.  1.100
  libavfilter     6. 65.100 /  6. 65.100
  libavresample   3.  1.  0 /  3.  1.  0
  libswscale      4.  2.100 /  4.  2.100
  libswresample   2.  3.100 /  2.  3.100
  libpostproc    54.  1.100 / 54.  1.100
Input #0, mpegts, from '0.ts':
  Duration: 00:00:09.28, start: 1.400000, bitrate: 51640 kb/s
  Program 1
    Metadata:
      service_name    : Service01
      service_provider: FFmpeg
    Stream #0:0[0x100]: Video: h264 (High) ([27][0][0][0] / 0x001B), yuv420p(progressive), 3840x2160, 30 fps, 30 tbr, 90k tbn, 180k tbc
    Stream #0:1[0x101](eng): Audio: aac (LC) ([15][0][0][0] / 0x000F), 48000 Hz, stereo, fltp, 259 kb/s

and
$ ffprobe 1.ts
ffprobe version 3.2.4 Copyright (c) 2007-2017 the FFmpeg developers
  built with gcc 6.3.1 (GCC) 20170109
  configuration: --prefix=/usr --disable-debug --disable-static --disable-stripping --enable-avisynth --enable-avresample --enable-fontconfig --enable-gmp --enable-gnutls --enable-gpl --enable-ladspa --enable-libass --enable-libbluray --enable-libfreetype --enable-libfribidi --enable-libgsm --enable-libiec61883 --enable-libmodplug --enable-libmp3lame --enable-libopencore_amrnb --enable-libopencore_amrwb --enable-libopenjpeg --enable-libopus --enable-libpulse --enable-libschroedinger --enable-libsoxr --enable-libspeex --enable-libssh --enable-libtheora --enable-libv4l2 --enable-libvidstab --enable-libvorbis --enable-libvpx --enable-libwebp --enable-libx264 --enable-libx265 --enable-libxvid --enable-netcdf --enable-shared --enable-version3 --enable-x11grab
  libavutil      55. 34.101 / 55. 34.101
  libavcodec     57. 64.101 / 57. 64.101
  libavformat    57. 56.101 / 57. 56.101
  libavdevice    57.  1.100 / 57.  1.100
  libavfilter     6. 65.100 /  6. 65.100
  libavresample   3.  1.  0 /  3.  1.  0
  libswscale      4.  2.100 /  4.  2.100
  libswresample   2.  3.100 /  2.  3.100
  libpostproc    54.  1.100 / 54.  1.100
Input #0, mpegts, from '1.ts':
  Duration: 00:00:20.16, start: 1.400000, bitrate: 51163 kb/s
  Program 1
    Metadata:
      service_name    : Service01
      service_provider: FFmpeg
    Stream #0:0[0x100]: Video: h264 (High) ([27][0][0][0] / 0x001B), yuv420p(progressive), 3840x2160, 30 fps, 30 tbr, 90k tbn, 180k tbc
    Stream #0:1[0x101](eng): Audio: aac (LC) ([15][0][0][0] / 0x000F), 48000 Hz, stereo, fltp, 266 kb/s

I merge the video and audio together with the following command:
$ ffmpeg -i 'concat:0.ts|1.ts' -c copy 01.mp4
ffmpeg version 3.2.4 Copyright (c) 2000-2017 the FFmpeg developers
  built with gcc 6.3.1 (GCC) 20170109
  configuration: --prefix=/usr --disable-debug --disable-static --disable-stripping --enable-avisynth --enable-avresample --enable-fontconfig --enable-gmp --enable-gnutls --enable-gpl --enable-ladspa --enable-libass --enable-libbluray --enable-libfreetype --enable-libfribidi --enable-libgsm --enable-libiec61883 --enable-libmodplug --enable-libmp3lame --enable-libopencore_amrnb --enable-libopencore_amrwb --enable-libopenjpeg --enable-libopus --enable-libpulse --enable-libschroedinger --enable-libsoxr --enable-libspeex --enable-libssh --enable-libtheora --enable-libv4l2 --enable-libvidstab --enable-libvorbis --enable-libvpx --enable-libwebp --enable-libx264 --enable-libx265 --enable-libxvid --enable-netcdf --enable-shared --enable-version3 --enable-x11grab
  libavutil      55. 34.101 / 55. 34.101
  libavcodec     57. 64.101 / 57. 64.101
  libavformat    57. 56.101 / 57. 56.101
  libavdevice    57.  1.100 / 57.  1.100
  libavfilter     6. 65.100 /  6. 65.100
  libavresample   3.  1.  0 /  3.  1.  0
  libswscale      4.  2.100 /  4.  2.100
  libswresample   2.  3.100 /  2.  3.100
  libpostproc    54.  1.100 / 54.  1.100
Input #0, mpegts, from 'concat:0.ts|1.ts':
  Duration: 00:00:20.16, start: 1.400000, bitrate: 74933 kb/s
  Program 1
    Metadata:
      service_name    : Service01
      service_provider: FFmpeg
    Stream #0:0[0x100]: Video: h264 (High) ([27][0][0][0] / 0x001B), yuv420p(progressive), 3840x2160, 30 fps, 30 tbr, 90k tbn, 180k tbc
    Stream #0:1[0x101](eng): Audio: aac (LC) ([15][0][0][0] / 0x000F), 48000 Hz, stereo, fltp, 259 kb/s
Output #0, mp4, to '01.mp4':
  Metadata:
    encoder         : Lavf57.56.101
    Stream #0:0: Video: h264 (High) ([33][0][0][0] / 0x0021), yuv420p(progressive), 3840x2160, q=2-31, 30 fps, 30 tbr, 90k tbn, 90k tbc
    Stream #0:1(eng): Audio: aac (LC) ([64][0][0][0] / 0x0040), 48000 Hz, stereo, 259 kb/s
Stream mapping:
  Stream #0:0 -> #0:0 (copy)
  Stream #0:1 -> #0:1 (copy)
Press [q] to stop, [?] for help
[mpegts @ 0x56259655e560] DTS 157860 < 958161 out of order
frame=  869 fps=0.0 q=-1.0 Lsize=  170955kB time=00:00:38.37 bitrate=36491.6kbits/s speed= 178x
video:170015kB audio:934kB subtitle:0kB other streams:0kB global headers:0kB muxing overhead: 0.003137%

The result seems to play smoothly in mpv. However I noticed that the playback time "jumps" to 19 seconds when it reaches 9 seconds. If I play 01.mp4 in vlc the playback freezes at 9 seconds and continues at 19 seconds after a while. Here is the ffprobe-output for 01.mp4:
$ ffprobe 01.mp4
ffprobe version 3.2.4 Copyright (c) 2007-2017 the FFmpeg developers
  built with gcc 6.3.1 (GCC) 20170109
  configuration: --prefix=/usr --disable-debug --disable-static --disable-stripping --enable-avisynth --enable-avresample --enable-fontconfig --enable-gmp --enable-gnutls --enable-gpl --enable-ladspa --enable-libass --enable-libbluray --enable-libfreetype --enable-libfribidi --enable-libgsm --enable-libiec61883 --enable-libmodplug --enable-libmp3lame --enable-libopencore_amrnb --enable-libopencore_amrwb --enable-libopenjpeg --enable-libopus --enable-libpulse --enable-libschroedinger --enable-libsoxr --enable-libspeex --enable-libssh --enable-libtheora --enable-libv4l2 --enable-libvidstab --enable-libvorbis --enable-libvpx --enable-libwebp --enable-libx264 --enable-libx265 --enable-libxvid --enable-netcdf --enable-shared --enable-version3 --enable-x11grab
  libavutil      55. 34.101 / 55. 34.101
  libavcodec     57. 64.101 / 57. 64.101
  libavformat    57. 56.101 / 57. 56.101
  libavdevice    57.  1.100 / 57.  1.100
  libavfilter     6. 65.100 /  6. 65.100
  libavresample   3.  1.  0 /  3.  1.  0
  libswscale      4.  2.100 /  4.  2.100
  libswresample   2.  3.100 /  2.  3.100
  libpostproc    54.  1.100 / 54.  1.100
Input #0, mov,mp4,m4a,3gp,3g2,mj2, from '01.mp4':
  Metadata:
    major_brand     : isom
    minor_version   : 512
    compatible_brands: isomiso2avc1mp41
    encoder         : Lavf57.56.101
  Duration: 00:00:38.40, start: 0.000000, bitrate: 36471 kb/s
    Stream #0:0(und): Video: h264 (High) (avc1 / 0x31637661), yuv420p, 3840x2160, 36419 kb/s, 22.72 fps, 30 tbr, 90k tbn, 180k tbc (default)
    Metadata:
      handler_name    : VideoHandler
    Stream #0:1(eng): Audio: aac (LC) (mp4a / 0x6134706D), 48000 Hz, stereo, fltp, 196 kb/s (default)
    Metadata:
      handler_name    : SoundHandler

Does anyone know what is causing this and how I can prevent this? I also tried to create 01.mp4 without using -c copy but the resulting video freezes at 9 seconds even in mpv (whereas it didn't freeze in mpv before). In any case leaving out -c copy seems to ignore the orientations of the videos. I need to concatenate videos with different orientation (some are horizontal and others are vertical). This is not a problem with -c copy but without it all videos get the vertical orientation and the horizontal ones are horizontally "squeezed" and vertically stretched, which destroys the video quality. I wouldn't mind to leave out -c copy if there was a way to tell concat to respect the individual orientation of each video file.
Thanks!

What does ffplay do?

Try with the demuxer.

Try regenerating pts values when merging two videos like so:
ffmpeg -i 'concat:0.ts|1.ts' -c copy -fflags +genpts output.mp4

@user351041, you ever get this to work?


text:
Is there a Video converter, that can convert like the reference file?
I have a  video file, with this details:

I have another video (in .avi format) and want to convert to exactly like this format... Is there any Video Converter, that can convert to the file, exactly as Reference file?

Manually, yes. Automatically? Not that I know of.

@Mulvya thanks. Can you tell me how to do that manually? which program can adjust every details so accurately?
i tried handbrake, ANY Vid converter and etc.. none of them have so many customizable details..

If you want to encode to AVC, x264 or ffmpeg - there are a couple of features only adjustable in the former, but the important ones can be adjusted in ffmpeg.

thanks @Mulvya.
if you'll post all of these as answer, I'll upvote.  p.s. yet, I dont know what commands to use with ffmpeg to achieve desired result.

If you reveal which properties you want to copy, I can provide a command for that.

As far as I know, there's no "make like this one" option, but seeing the options of the reference file, many apps allow you to make a template for batch exporting, e.g. https://documentation.apple.com/en/compressor/usermanual/index.html#chapter=1%26section=2%26tasks=true

@T.Todua Handbrake... also MPEGstreamclip & FFMPEG can be batch scripted if you feel comfy w/line commands

Prolly best to post a new question and ask: how i i do X to Y to make Z with ffmpeg? Also post what u have tried so far. Best!

& dont forget to accept an answer & upvote useful ones! :)

I've upvoted your answer already and I'll select the best one a bit later... p.s. i'ts better to remove the first-two comment and embed that into the answer.


text:
What's the best balance price/quality audio recorder for meetup and small conf
I am doing some meetup recording and I want to automate the thing.
Here are my current devices to record any meetup:
- OBS
- logitech c922
- AverMedia LGP Lite
I need a better sound that the webcam sound. Ideally it will not be on the speaker but I know that a microphone tie would be the best choice. I have tried with a H2n ZOOM but I think we can do better.
What are you recommending?
Ideally the price should be between 50-200$.

Have you tried an H4 Zoom? It's in the price range.

well, I think as the H2N it's too far from the speaker but maybe it's enough? Did you already try to use the H4 standing on a desk 2 meters away from the speaker?

Don't underestimate the consequences of a crappy audio environment.  See https://video.stackexchange.com/questions/17318/microphone-for-indoor-interview/17320#17320 and in particular the video link it refers to: http://nofilmschool.com/2015/08/24-sound-basics-will-help-you-lay-sturdy-foundation

What is the reason the microphone needs to be that far? I feel that distance (2m) is going to be an issue with most equipment.

it's just more convenient to have one microphone. ut regarding comments I'll probably invest and either a micro tie, any advice for it?


text:
Color shift uploading to Youtube
I have an animation i After Effects (1920x1080, 25fps, Color working space sRGB 1966) with Illustrator doc in sRGB. The colors are correct when playing in project and also when exported and playing in Quicktime & VLC.
But when uploading to Youtube and on other webpages the colors shift, especially one color (#00acc1) turquoise gets much more green. Like this
Left color - the right one and Right color - the color I get from Youtube.
This is in Firefox. But when I play the same video in Chrome & Safari the colors are all correct in the video - except the startpicture (miniature from Youtube) gets the wrong color. Weird!
I have tried different codec-options in AE and Adobe Media Encoder (H.264, Youtube preset, Animation etc). I tried YUV (thought that less compression would make it better, since Youtube is already compressing it) and it got better I thought at first, but then I saw it just go more blue and in Chrome it got TOO much blue - so the color shift is still there. I also tried putting the masterclip in AE and setting a Utility profile converter to sRGB - but same shift there when uploading to web.
I have been trying to solve this for hours. I understand that colors can shift inbetween browsers and different screens, but this seems too much. Is this specific color extremely non-web-friendly? Or is there anything I can do about this, is it something I'm doing wrong or has anyone experienced something similar?
Thanks for reply!

Take a look at http://video.stackexchange.com/questions/4912/possible-to-use-srgb-as-mp4-colorspace/10674#10674

Possible duplicate of Possible to use sRGB as mp4 colorspace?


text:
Are there any omni directional stereo mics for camcorders
I am looking for a good microphone to film trains as they go by.
I have been looking, at the Opteka VM-200. But I am concerned that the shotgun directional characteristic will not work well, since I want to pick up the sound of the train coming in the distance.
But it seems like almost all camcorder external microphones are shotgun and directional, and quite commonly mono.
To make things even more confusing, I am looking for a low frequency response, to capture the rumbling low end.
In addition, it needs to fit a wind sock on it.
But most importantly, right now it are there any that are omni directional. I can't find one!!

I have the Azden SMX-30 and I love it! Both stereo (Omni-directional) and mono (directional). Comes with a wind cover, and Azden's add-on dead cat (furry windshield) isn't super expensive. It isn't cheap (the total cost is $280 from Azden), but the rave reviews on Amazon might help you decide. I went to a store and tried various Sennheiser and Rode mics, but this mic was the best I tried. Good luck hunting!

Boy, that's a list. I'm thinking you might need multiple mics, then you'd have to mix in post to get the sound your looking for.


text:
gain the highest quality with H264 at a certain bit rate
I have encoded my videos using ffmpeg and H264, and this is my ffmpeg command (2 pass encoding):
ffmpeg -y -i Edited\ Clips/arsenalVScristalPalas.mp4 -movflags faststart -c:v libx264 -x264opts 'keyint=300:min-keyint=25:8x8dct:sliced-threads=0:subq=6' -deblock 0:0 -flags +loop -preset slow -tune zerolatency -b:v 2048k -maxrate 2048k -bufsize 3000k -vf "scale=-1280:720" -pass 1 -acodec libmp3lame -b:a 128k -coder 1 -me_range 16 -sc_threshold 42 -bf 10 -qmin 0 -qmax 51 -trellis 2 -rc_lookahead 60 -ss 00:01:00 -t 00:01:00 -f mp4 /dev/null

ffmpeg -i Edited\ Clips/arsenalVScristalPalas.mp4 -movflags faststart -c:v libx264 -x264opts 'keyint=300:min-keyint=25:8x8dct:sliced-threads=0:subq=6' -deblock 0:0 -flags +loop -preset slow -tune zerolatency -b:v 2048k -maxrate 2048k -bufsize 3000k -vf "scale=-1280:720" -pass 2 -acodec libmp3lame -b:a 128k -coder 1 -me_range 16 -sc_threshold 42 -bf 10 -qmin 0 -qmax 51 -trellis 2 -rc_lookahead 60 -ss 00:01:00 -t 00:01:00  2pass15.mp4

I need the video to be in the highest quality (at the 2000kbps bitrate). I have another video with the same bitrate (from another source), but It has a better quality than my video. I need to reach that quality.
I used mediainfo to get the encoding options for that video, and here is the information:

General Complete name                            :
  arsenalVScristalPalas_hd.mp4 Format
  : MPEG-4 Format profile                           : Base Media Codec
  ID                                 : isom (isom/iso2/avc1/mp41) File
  size                                : 171 MiB Duration
  : 11mn 1s Overall bit rate                         : 2 164 Kbps
  Encoded date                             : UTC 1904-01-01 00:00:00
  Tagged date                              : UTC 1904-01-01 00:00:00
  Writing application                      : Lavf57.63.100
Video ID                                       : 1 Format
  : AVC Format/Info                              : Advanced Video Codec
  Format profile                           : Main@L3.1 Format settings,
  CABAC                   : Yes Format settings, ReFrames
  : 6 frames Codec ID                                 : avc1 Codec
  ID/Info                            : Advanced Video Coding Duration
  : 11mn 1s Bit rate                                 : 2 048 Kbps Width
  : 1 280 pixels Height                                   : 720 pixels
  Display aspect ratio                     : 16:9 Frame rate mode
  : Constant Frame rate                               : 50.000 fps Color
  space                              : YUV Chroma subsampling
  : 4:2:0 Bit depth                                : 8 bits Scan type
  : Progressive Bits/(Pixel*Frame)                       : 0.044 Stream
  size                              : 160 MiB (94%) Writing library
  : x264 core 148 r2643 5c65704 Encoding settings
  : cabac=1 / ref=6 / deblock=1:1:1 / analyse=0x1:0x131 / me=umh /
  subme=9 / psy=1 / psy_rd=0.40:0.00 / mixed_ref=1 / me_range=16 /
  chroma_me=1 / trellis=2 / 8x8dct=0 / cqm=0 / deadzone=21,11 /
  fast_pskip=1 / chroma_qp_offset=-2 / threads=22 / lookahead_threads=5
  / sliced_threads=0 / nr=0 / decimate=1 / interlaced=0 /
  bluray_compat=0 / constrained_intra=0 / bframes=10 / b_pyramid=2 /
  b_adapt=2 / b_bias=0 / direct=3 / weightb=1 / open_gop=0 / weightp=2 /
  keyint=300 / keyint_min=25 / scenecut=40 / intra_refresh=0 /
  rc_lookahead=60 / rc=2pass / mbtree=1 / bitrate=2048 / ratetol=1.0 /
  qcomp=0.60 / qpmin=0 / qpmax=69 / qpstep=4 / cplxblur=20.0 / qblur=0.5
  / vbv_maxrate=2048 / vbv_bufsize=5000 / nal_hrd=none / filler=0 /
  ip_ratio=1.41 / aq=1:0.60 Language                                 :
  English Encoded date                             : UTC 1904-01-01
  00:00:00 Tagged date                              : UTC 1904-01-01
  00:00:00
Audio ID                                       : 2 Format
  : AAC Format/Info                              : Advanced Audio Codec
  Format profile                           : HE-AAC / LC Codec ID
  : 40 Duration                                 : 11mn 1s
  Duration_LastFrame                       : -23ms Bit rate mode
  : Constant Bit rate                                 : 128 Kbps
  Channel(s)                               : 2 channels Channel
  positions                        : Front: L R Sampling rate
  : 48.0 KHz / 24.0 KHz Frame rate                               :
  23.438 fps (1024 spf) Compression mode                         : Lossy Stream size                              : 10.1 MiB (6%) Language
  : English Default                                  : Yes Alternate
  group                          : 1 Encoded date
  : UTC 1904-01-01 00:00:00 Tagged date                              :
  UTC 1904-01-01 00:00:00

and this is the information of my video:

General Complete name                            : 2pass14.mp4 Format
  : MPEG-4 Format profile                           : Base Media Codec
  ID                                 : isom (isom/iso2/avc1/mp41) File
  size                                : 15.4 MiB Duration
  : 1mn 0s Overall bit rate                         : 2 150 Kbps Encoded
  date                             : UTC 1904-01-01 00:00:00 Tagged date
  : UTC 1904-01-01 00:00:00 Writing application                      :
  Lavf56.40.101
Video ID                                       : 1 Format
  : AVC Format/Info                              : Advanced Video Codec
  Format profile                           : High@L3.2 Format settings,
  CABAC                   : Yes Format settings, ReFrames
  : 5 frames Codec ID                                 : avc1 Codec
  ID/Info                            : Advanced Video Coding Duration
  : 1mn 0s Bit rate                                 : 2 048 Kbps Width
  : 1 280 pixels Height                                   : 720 pixels
  Display aspect ratio                     : 16:9 Frame rate mode
  : Constant Frame rate                               : 50.000 fps Color
  space                              : YUV Chroma subsampling
  : 4:2:0 Bit depth                                : 8 bits Scan type
  : Progressive Bits/(Pixel*Frame)                       : 0.044 Stream
  size                              : 14.4 MiB (94%) Writing library
  : x264 core 148 r2643 5c65704 Encoding settings
  : cabac=1 / ref=5 / deblock=1:3:3 / analyse=0x3:0x113 / me=umh /
  subme=6 / psy=1 / psy_rd=1.00:0.00 / mixed_ref=1 / me_range=16 /
  chroma_me=1 / trellis=2 / 8x8dct=1 / cqm=0 / deadzone=21,11 /
  fast_pskip=1 / chroma_qp_offset=-2 / threads=6 / lookahead_threads=3 /
  sliced_threads=0 / nr=0 / decimate=1 / interlaced=0 / bluray_compat=0
  / constrained_intra=0 / bframes=10 / b_pyramid=2 / b_adapt=2 /
  b_bias=0 / direct=3 / weightb=1 / open_gop=0 / weightp=2 / keyint=300
  / keyint_min=25 / scenecut=42 / intra_refresh=0 / rc_lookahead=0 /
  rc=2pass / mbtree=0 / bitrate=2048 / ratetol=1.0 / qcomp=0.60 /
  qpmin=10 / qpmax=51 / qpstep=4 / cplxblur=20.0 / qblur=0.5 /
  vbv_maxrate=2048 / vbv_bufsize=3000 / nal_hrd=none / filler=0 /
  ip_ratio=1.40 / pb_ratio=1.30 / aq=1:1.00 Language
  : English Encoded date                             : UTC 1904-01-01
  00:00:00 Tagged date                              : UTC 1904-01-01
  00:00:00
Audio ID                                       : 2 Format
  : MPEG Audio Format version                           : Version 1
  Format profile                           : Layer 3 Mode
  : Joint stereo Mode extension                           : MS Stereo
  Codec ID                                 : 6B Duration
  : 1mn 0s Duration_LastFrame                       : -1ms Bit rate mode
  : Constant Bit rate                                 : 128 Kbps Maximum
  bit rate                         : 2 048 Kbps Channel(s)
  : 2 channels Sampling rate                            : 48.0 KHz
  Compression mode                         : Lossy Stream size
  : 938 KiB (6%) Language                                 : English
  Default                                  : Yes Alternate group
  : 1 Encoded date                             : UTC 1904-01-01 00:00:00
  Tagged date                              : UTC 1904-01-01 00:00:00

is there anything that I am doing wrong?? any suggestions on how to improve my output quality??
and here is a demo of videos,
the video that has a better quality:
https://ufile.io/b7a1b
my video, that I need to improve quality:
https://ufile.io/363f11

Quite a few parameters are different, but for starters, set -rc-lookahead to 60. Try to set as many parameters as you can within x264opts and they will get more reliably flagged if there's a typo.

What are you using for source material?  Has it already been encoded in the past?  The quality of lossy compression is HIGHLY dependent on the quality of the source material.   If it has been lossy compressed previously, the quality you will get will be significantly lower per bit as loss compounds, generally pretty close to exponentially.

-tune zerolatency is going to kill quality. It disables b-frames and cabac.

@AJHenderson yes, the source has been encoded before and I expected to have some quality loss, but the other video is also using the same video, but  it has a better quality. It has been encoded before with h264 codec, and its lossy.

@SlimSCSI realy? So I should remove it?? I have enabled cabac with coder 1, and when I get video information with mediainfo, it says cabac is set to 1.


text:
How do I make a YouTube video with text-only?
I want to make a YouTube video showing text-only. Like this one.

You can create these easily in most video editing programs. For example, in iMovie (which is available on Apple devices), each of these is a Title.  "Title" is what iMovie calls a page of text.  So you create one Title for each thing you want to say on screen, and you add them to your video. Make sure the beginning of every Title fades in from black, and the ending of every title fades out to black.
Once you're done with that, you probably want to make sure you can read each of them in the time they're visible.  I typically leave Titles on screen for as long as it takes me to read them out loud (rather that just reading them silently in my mind).
When you've got the timing done, find music to add in the background. iMovie offers a lot of free, royalty-free music that you can use.  YouTube also offers you free music you can download and use at http://youtube.com/audiolibrary.

To add, in Vegas Pro, you make these with the media generator tool. Select it media generation from the menu, then text. It's pretty self explanatory after that.


text:
good source of benchmarking data with project files for Premiere and After Effects
I've lately enjoyed editing videos using Premier Pro and After Effects, on my 2013 macbook air. It is painfully obvious that my macbook air was not made for this, especially when rendering in After Effects.
This is just a hobby for me and I want to know what kind of system I need to buy to get at least reasonable performance. There is all kinds of advice online, mostly recommending GTX 1080 and i7-6950 etc.. What I really want is a list of benchmarked systems that show render and export times for different systems from macbooks, to mini PCs and high-end custom builds. If the project files used for the benchmarks are available I can then compare against my macbook air and als compare it on systems I'm evaluating myself.
Who can help me out with some good benchmark files and benchmarks?


text:
mpeg-dash playback on ios
I have created my dash videos with mp4box and ffmpeg. it plays fine on exo player and videoJS on android and all browsers, but it doesn't play on ios 10 safari. how can I make it playable on ios and safari?
here is a demo:
http://79.175.133.185/static/videos/bighero/index.html

Dash will not playback on iOS safari. You can create an HLS manifest however and reuse the same dash assets and play that.

as far as i know it should be able to play on ios 10+ @SlimSCSI

The assets, yes, the manifest, no. You need an HLS (m3u8) manifest.

you mean I should create a m3u8 manifest with my dash segments? how can i do this? could you explain more?

you can create a manifest with any text editor, and the specification is available on apples website, or the pantos document (google it)


text:
What is the simplest way to cut and put together many parts (for which I know the timestamps) of many videos?
I am absolutely new to video production, I just have a simple job to get done.
I have about 10 videos of a few minutes each. I want to take the interesting parts of each video (there's maybe 3-6 interesting parts per video), put them together into one video, and discard the rest. I have sat through each video and recorded the timestamps of the beginning and end of each part in each video I want to keep. E.g. Video 1: 00:36 - 00:39, 01:04-01:20, Video 2: 01:36-01:39, 02:24-03:00, etc.
Is there any program that would allow me the simplicity of typing in the timestamps of each part of each video I want, and then put it all together as one video?
Additionally (although this isn't currently a necessity) it would be nice if I could put in a title (I'm thinking white text on black screen) before each part of the final video to explain what will be shown next. Or at least have a caption on each part of the video.

Congratulations, without knowing it you have properly logged your video footage and took a huge step towards producing a high quality video. For the actual editing, you can probably use just about any video editing software. You could also use command line tools, like ffmpeg, but it would probably take you longer to script than it would to drag and drop your selected footage.

Cutting and arranging video material is the most basic thing that any video editing software has to be able to do. You won't find any NLE that can't do that. Titles are pretty basic as well, you can insert titles with software as simple as Windows Movie Maker (though of course more sophisticated software will always give you more control). So yeah, as Michael Liebman said, pick one.


text:
Connecting T6i to Elgato Game Capture HD
I recently purchased an Elgato HD for my MacBook Air, and I am fairly new at learning how everything comes together, so bear with me.
I am trying to connect my Canon T6i as a capture device and I have been semi successful, but I have some other questions. I have connected the camera to the capture card via HDMI, but it can only be recognized through USB and I'm not fond of the delay. Is there any way around this? I may be wrong, and correct me if I am, but I was under the impression that I could use the Elgato HD to capture video through HDMI.
My setup right now has HDMI from the T6i to the capture card, and another HDMI from the capture card to an HDMI adapter. I'm assuming this is my issue here, but I have not found any clear answers anywhere.

Witch HDMI adapter are you talking about? You can only connect your Elgato to your Mac via usb, no other way. The delay in some frames is pretty normal in a MacBook Air.

HDMI cable from camera should go to Elgato, USB cable from Elgato should go into your MacBook USB port.
If you want to reduce delay, you need to get a capture card that doesn't compress the video, instead of the Elgato. Something like an Epiphan AV.io, which has one frame latency.

It should be noted that there's likely a relatively significant delay on the output from the T6i as well.  Even my 5D Mark iii has a delay of around 300-400ms.  It's enough that it causes a majorly noticeable delay when trying to use it with a live video switcher.


text:
How to recover when zooming makes Final Cut Pro unresponsive?
Every so often while I'm editing in Final Cut Pro, I zoom in or out with the trackpad and suddenly the app becomes unresponsive in a strange way - you can't click on anything, right-clicking the icon shows the normal menu with "Quit" at the bottom but it doesn't work. There's no spinner or anything - it feels like it's spawned a modal dialog window somewhere unreachable, so it's not a crash per se - more like it's gone into a weird undefined state. I've tried tabbing and "show all windows" and all sorts but no dice.
All I can do is force quit the app but it really feels like there might be a better way to fix this problem without doing so.
Has anybody else experienced this problem? I haven't had any luck on Google.

I'm voting to close this as it's not production related. You should file a bug report with Apple if this is a recurring bug in your software.

Voting to reopen. Anybody that uses Final Cut Pro should know that forcequitting and reopening FCP is just as part of your production workflow as color grading. One trick I found was turning off and turning back on your mouse. On the MX 3S you can tap underneath to disconnect bluetooth, same thing. This works 20% of the time.


text:
Can frames without motion be removed automatically in Adobe Premiere?
I've created a "time lapse video" where much of the footage is essentially just a static image. Is there a way to automatically remove all frames but the ones that are changed?

Doesn't sound like a job for premiere. Processing or openFrameworks might be the go.

Or ffmpeg with one of the decimate filters.

ffmpeg -i in.mp4 -vf
"select='if(gt(scene,0.01),st(1,t),lte(t-ld(1),1))',setpts=N/FRAME_RATE/TB"
trimmed.mp4

You can do it with FFMPEG. The standard mpeg command line tool.
Reference: https://stackoverflow.com/questions/40966394/how-to-simply-remove-duplicate-frames-from-a-video-using-ffmpeg


text:
Is it possible to encode MP4 video with VP9 codec?
Does MP4 support VP9 codec or is it exclusive to WebM?

ffmpeg v4.0.2 or higher can encode/transcode VP9 in mp4.
Commandline (when transcoding):
ffmpeg -i INPUT.MKV -c:v libvpx-vp9 OUTPUT.MP4
Commandline (when remuxing (Super fast)):
ffmpeg -i INPUT.MKV -c:v copy OUTPUT.MP4

Your second command isn't transcoding, it's called remuxing, the process of moving encoded streams from one container to another. Transcoding involves going from one codec to another and requires decoding the source stream and encoding it into the destination stream.

FFmpeg, a command-line app, can write VP9 streams in MP4s.
Get a static daily/snapshot binary from https://ffmpeg.zeranoe.com/builds/
Basic command is
ffmpeg -i in.mov -c:v vp9 out.mov

Getting error: Unknown encoder 'vp9'

Works here. You got the 20170317 static build, right? Use full form: -c:v libvpx-vp9


text:
What equipment do I needed for filming dance instruction?
I'm gathering equipment for a "mobile recording studio" focusing on dance instruction. I'm pretty much a novice at this and my budget, while not shoestring, is pretty small. I'm not aiming for very high production quality, but something like youtube tutorial quality is fine for me at this point.
These are the things that I know I'll need:

Video Camera (just one to start)
Mics for instructors (wireless)
Mics for ambient sound

These are things that I may need (or think I will) depending on what type of setup I choose:

Audio mixer
Handheld audio recorder
lighting

My question is about the best way to set this up. And the following info briefly describes the situations I'm likely to record in: I'll be indoors, near power sources. The dance instructors will be no more than 20 feet from the camera.
So my questions are:
1) Should I get a digital SLR video camera, or a camcorder, or something else? Camcorders seem to have more ports for connecting things, and seem to have more options for audio. I'm not really sure the pros / cons here, except camcorders seem more expensive, DSLRs also take photos, and share lenses with photography work.
2) Should I try or try not to couple my audio and video? That is should I use a handheld recorder (I won't be moving or outside) and record multiple tracks to that (this will complicate post production but allow more freedom to alter track characteristics independently) or should I use a mixer that feeds into my camera and record the audio with the video (I like the simplicity of this and can tolerate the loss of freedom). I'm not sure.
3) Do I really need lighting equipment? I see people producing tolerable youtube vlogs with what seems to be minimal equipment. I plan to be on the road filming, and I'd rather not have to bring lighting with me, or bother renting. Are there certain cameras that are betting with not great internal lighting than others?
4) What is the best way to record the music that the instructors will be demoing to? I guess my major options are adding the music in post, a digital feed into the audio mix, or actually miking the audio source itself (speakers).
5) What am I overlooking? This world is new to me, but I'm excited about entering it. I realize my questions here are attempts to understand what I need, and may not even be able to recognize questions I should be asking because of my lack of experience/knowledge.
If I were to buy this setup today (I'm going to wait a bit) I would probably get:

Mid-range Canon DSLR (D70?)
2 mid-quality lav mics that allow the receiver to use AC power
1 average cardioid condenser mic for ambient sound / music
a 4 channel mixer that will feed into the camera audio in
headphones to listen to the mix while I record

I realize there's a lot of questions here but I'm out of my depth. Perhaps there are kind souls out there who would like to help steer me in the right direction.
Thanks in advance.

Should I get a digital SLR video camera, or a camcorder, or something else?

It depends on your planned usage. Canon and I think Nikon DSLRs are still limited to recording up to 4GiB of footage, and then they stop. This works out to roughly 15-20 minutes of footage per shot, depending on bitrate (which will be influences by shooting modes and the amount of motion in a shot). Some mirrorless cameras, including the Panasonic Lumix series and the Sony Alpha series, feature shooting modes that can record for as long as they have power. So if you're going to have a dedicated camera operator, or plan on primarily shooting everything in quick, small shots, a DSLR might work out, otherwise look at cameras that use AVCHD, XAVC, or some similar system to overcome clip length.
DSLRs and mirrorless cameras also typically do not have servo-controlled zoom mechanisms, so any zoom changes will need to be done by hand, and if you're planning on shooting any of these zooms they may look unsteady if you don't use some kind of additional hardware to smooth things out. On the other hand, that means you can do things like snap-zooms if you so wish.
The other thing of concern is rolling shutter. DSLRs use a CMOS sensor which is better for still photography, while camcorders use CCDs, which are better for video. The problem with CMOS sensors is that while they are cheaper than CCDs, they don't have what's called a "global shutter," and each imaging line is scanned individually, which produces a rolling shutter effect (AKA: Jello-vision) when there is a lot of horizontal movement. Most modern DSLRs have this tamped down to a reasonable level, but it's still something to look out for when choosing a camera.

Should I try or try not to couple my audio and video?

You should keep the two separate, if possible, and not mix in the field. Or if you do mix in the field make sure you have an isolated recording. Mixing in post will give you the maximum amount of flexibility and will reduce the amount of opportunities for things to be screwed up on accident, which would necessitate a reshoot.
If you don't want to synch by hand you could look into Red Giant's PluralEyes and have it do the synching for you, just make sure you're recording some kind of audio on the camera.

Do I really need lighting equipment? I see people producing tolerable youtube vlogs with what seems to be minimal equipment.

Generally speaking, yes, you should have some kind of lighting setup. The more light you can throw on a subject the better, and you should definitely have one if you are going to be shooting in different environments so you can make sure you always have sufficient light.
For a typical interview a three-point lighting setup is recommended, and thankfully with LEDs becoming cheaper you can often find some small, cheap, light lighting kits that don't produce ten tons of heat. You can also experiment with different kinds of cheap lighting to suit your needs, like getting a cheap utility light from the hardware store and throwing a bunch of diffusion on it to soften the harshness.
I would also recommend getting some sort of bounce board to help better control your lighting. You can use colored boards to add a subtle "look" to your video (using a gold bounce board is common to help give a shot a warmer look), to soften shadows, or as a flag to control where your light is being thrown to reduce glare, lens flares, and reflections. There are nice ones that are very portable, alternatively get some cheap foam core from the local office supply shop.

Are there certain cameras that are betting with not great internal lighting than others?

Yes. A camera's light sensitivity is, generally speaking, governed by the size of its imaging sensor. The bigger the sensor the more light can be focused on it. Professional camcorders use sensors that are two thirds of an inch (measured diagonally), while a lot of consumer camcorders use sensors that are only one third of an inch. In DSLRs and mirrorless cameras the size can be almost anything. It could be as small as 0.85 inches, as in Micro Four Thirds, all the way up to just over an inch in the case of Canon APC-S sized sensors.
Also different sensor manufacturers may do better or worse in terms of performance at the same light level. For example the low light performance of the Sony A7s II is way beyond anything Panasonic can deliver at that size.

What is the best way to record the music that the instructors will be demoing to?

Add it in post. This will give you maximum flexibility to keep the levels constant. You can use recording from the onboard camera mic(s) to synchronize it to the music. I've never tested it, but PluralEyes may actually be able to do that for you too.

What am I overlooking? This world is new to me, but I'm excited about entering it.

A good tripod. If you plan on doing any tilting or panning or any of that jazz you want to make sure you get a tripod with a fluid head. You may also want to consider some kind of shock resistance system if you're going to be shooting on floors that have a lot of flex to them.
If you anticipate a lot of moving around you should consider maybe a monopod (monopods can also be used as a jib if you're willing to risk it), or, if you plan to be shooting while you move the camera, maybe a Steadicam rig or some kind of gimbal. There's a ton of guides out there on how to make your own Steadicam-like system, and most of the time they're pretty inexpensive to build.
You should also consider lenses if you're buying a camera with interchangeable lenses. The lenses included in basic kits aren't bad, but you may find them somewhat limiting, such as a limited "zoom" range, or it doesn't open up wide enough. You may want to consider adapting different kinds of lenses to it, but keep in mind lenses with electronically controlled focus and aperture may require some kind of powered adapter (one brand is SpeedBooster by Metabones), and those can get kind of expensive. Sometimes you can get away with just using a non-electrified adapters can also be used, and are very cheap, but you will not get autofocus, and you might not have control over the aperture.
When shooting it's strongly recommended not to use auto-focus or auto-exposure, or for that matter any other automatic controls. The results are almost never as good as doing it yourself, and the systems are easily bamboozled. Before you shoot, and after every time your lighting changes, you should re-white balance your camera using a clean white sheet of paper being held exactly where the talent will be standing.
Don't get caught up in the whole 4K/UHD thing. Distribution of 4K isn't quite "there" yet, and there isn't a ton of demand for it outside of enthusiast circles. It does give you some flexibility in post production, however, to punch in closer or for image stabilization, plus additional color detail when downscaling, but I wouldn't rule out a camera because it doesn't shoot 4K/UHD.
Focus a lot on sound. Microphones will pick up all sorts of extraneous noises you don't hear, like the sound of HVAC systems circulating air, or the hum of a refrigerator's compressor. You should have your sound engineer listen for these things and make sure they speak up if there's a problem with the audio. Don't be afraid to do things like post signs outside telling people you're shooting, and unplugging appliances (a fridge will keep cool for however long you're shooting).

Always shoot some test footage and have your talent test your microphones.
Always arrive early
Never stop your audio recorder if the camera is still running
Always run the camera a little longer than you think you need to, you can trim the slop in edit.
Make sure your talent stops and holds position when they're done doing whatever it is they're doing. This gives you more flexibility in post.
Use your audio meters to ensure your audio is mixed to around the same level, but don't "ride the levels" and be too fine grained
Don't go too extreme with your color grading

To answer your questions:
1) A DSLR is fine for a first try out. As an acquisition format (not delivery), HD is on its way out very fast though. The rage these days in 2K or actually 4K. So, later or now, look into, getting a camera that does that. For a DSLR price-range and for a person who is not used to shooting video, I'd recommend the GH5 that just came out.
2) If you use a DSLR-like camera, use an external recorder, and sync the audio and the video later, in your editing program. This will give you more flexibility and better quality, for sure.
3) Look for cameras that work well in low-light conditions. DSLRs work rather well generally. And yes, if you are moving a lot, stay away from cumbersome equipment: you'll be exhausted before you've shot one image. Have with you a case of 650W lights perhaps, with their stand and a couple of sand bags and extension cables. These are versatile and can enhance your image nicely.
4) As regards the music, best would be to digital-feed it into a recorder and record on-set ambiance as well, on top of miking your talent. So yes, that's a lot. Short of that, I'd mike the talent and record on-set audio. You can add the music later in post and mix the on-set ambiance with it.
5)

Aim to get good footage and very good audio. So, when you visit a
location, look and listen: if it looks good, it might not sound good,
and vice versa.
If, while you're shooting, you start to hear sounds coming from outside the venue, stop the shoot and try to stop the sounds from
happening. Why? 'Cause you want your footage and production audio to
be as good as possible the first time around. It can be very hard to
save bad footage or bad audio later on, in post. So get it right the
first time, while keeping an eye on the clock, the budget, etc.
In post, use filters to clean up your audio tracks, like the iZotope RX programs.
Test your gear before you show up on set. Make sure you know what you're doing with it, so as not to waste your time and your talents'.
Have at least one assistant with you on each shoot, either hired on the spot, or someone who travels with you. You don't want to overextend yourself too much, particularly since you're starting out. You don't want to do everything poorly and later become disillusioned with the process. It's not easy ... but it can be rewarding.


text:
How should I mic dance instructors when video recording?
I will be filming dance 1-3 instructors who will be teaching to the camera, without other people in the room. They will be moving, sometimes quickly while talking (but in a confined area 5x5feet-ish). They will also sometimes be facing to the side or with their backs turned toward the camera while talking.
I will be flying to different locations to film. So mobility as well as price and effectiveness are all factors.
I guess my options are:

Wireless Lav
Shotgun(s)
Boom mic

I'm a novice at this and really don't know. My current thinking is:
Wireless Lav Mic

pros:

consistent audio in all directions

cons:

costly
fragile
annoying for dancers moving
require batteries
need one for every instructor

Shotgun mics

pros:

not in dancers way
no batteries

cons:

need multiple mics?
even possible to get quality audio in all directions?
need stands, heavy, not mobile friendly?

Boom (overhead) mics

pros:

not in dancers way
no batteries
maybe only need one cardioid?

cons:

need multiple mics?
as good quality as with Lav?
even possible to get quality audio in all directions?
need stands, heavy, not mobile friendly?

So I could be way off on my understanding. What recommendations do you have for me?

Dance instructors–they're going to be in front of big mirrors like they often have in dance studios, correct? Unless you're happy seeing the boom in shot that rules out everything except lavs.
As for boom mics giving you as good quality as lavs I find the reverse is often true: boom mics give better quality when you can use them, but sometimes they're too difficult to use. If mirrors are not a problem and you have someone to swing the boom then you could do it with one boom mic.

There will not be any mirrors, and there will be no one to manually control the boom mic. It (they) will have to be stationary.

There is another option that is good to know about, the Crown PCC-160 boundary mic. This is a standard mic to put at the edge of a stage to get good quality sound from actors in plays.
"Supercardioid pattern with PCC boundary technology assures phase coherence throughout the audible spectrum" means that it is rejecting sound from behind, and the phase coherence means that voices are more clear than with normal mics, as long as you place them at a boundary like the floor or on a wall. Physics stuff.
Lavs will get you the most clear sound, but the Crown PCC will do better than a shotgun (unless you have the shotgun close with a boom pole). Rent a pair to try them out as backup, I think you will want to buy them after you see how effective they are.
Edit: Rereading your question, if the dancers are confined to a 5x5' area and they might be speaking with their back to the camera, lav is the best, but next best is probably a boom mic on a stand, with the mic positioned directly over the center of the area, pointed straight down. That should pick up a pretty balanced voice recording. A second shotgun positioned in line with the camera to get the front 'viewpoint' audio would capture a more natural-sounding voice when the speaker is speaking toward the camera. The Crown PCCs would have to be positioned all around the area, and they would pick up more of the dancer's feet sounds than the boom mic.

I just noticed your asking about mics. Good that you're thinking about the issue.

Scout the locations beforehand and avoid places with bad reverb (or weird sounds) at all costs.
As mentioned in my reply to your lighting question, look for places with heavy curtains to reduce the reverb.
In your situation (no crew, no budget), go for good lavs.
Have someone monitor the audio levels, other than you, while you shoot: you don't want to go home with bad audio or no audio at all.
Tape your dancers' shoes.

Good point about monitoring the levels, but it's not just levels: make sure someone is listening on headphones, particularly with lavs, because if you get clothing rustle or thumps you won't see it just from the levels.

I would go with a wireless headset microphone like the Shure SM31.

Better than a body-affixed mic like a lav, to avoid clothing rustle, which will be severe
Eliminates any concerns over pointing the mic at the person while they turn their head and move around on the dance floor
Unobtrusive; this requires no boom operator, no stands
Because it is close-mic'd you will not have to worry as much about reverberant spaces. Dance studios usually are terribly reverberant due to the mirrors and the hard floors.


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After effects position expression issue
I'm trying to make clouds move out of frame and than appear again from the other side.
var vel = 100;
var pInit = position.valueAtTime(0)[0]; // initial position of a cloud
var tInit = (thisComp.width-pInit)/vel; // time it takes to cross the right border starting from init position
var tFull = (thisComp.width+width)/vel; // time it takes to cross the frame starting behind the left border
var offset = 0;
tBound = tInit;

if(time > tBound) {
  tBound += tFull;
  offset += thisComp.width+width;
}

[value[0]+time*vel-offset,value[1]]

First time if statement works as expected. tBound becomes 40s and it offsets cloud. But when time gets bigger than 40 nothing happens. Neither offset variable gets bigger nor tBound. If statement doesn't work anymore. What's the problem here?

the if statement only returns true or false. When time >= 2*tBound you're still only offsetting the value once.

You're making it hard for yourself basing it on the time rather than the position. Here it is using the bounds of the comp rather than the time it takes to reach the bounds of the comp, which just made my head hurt.
The best tool for looping variables is the modulus % operator:
var vel = -100;
var pInit = position.valueAtTime(0)[0]; // initial position of a cloud
var initOffset = width/2 + thisComp.width;
[(pInit - initOffset + time * vel) % (thisComp.width + width) + initOffset, value[1]]

The modulus operator returns the remainder when you divide the left side by the right side. So as the value gets smaller than 0 - (thisComp.width + width) it will loop back to zero. There's a slight problem, in that the value starts positive, so we subtract an offset to it which we then add back again outside of the modulus.
Note that I made the velocity -100, to better reflect what's going on. In fact you can make this expression work for layers looping either way by changing the value of the offset, depending on whether the velocity is positive or negative, meaning that you have a universal looping expression, where only the velocity needs editing:
var vel = 100;
var pInit = position.valueAtTime(0)[0]; // initial position of a cloud
var initOffset = (vel < 0)? width/2 + thisComp.width : 0 - width/2;
[(pInit - initOffset + time * vel) % (thisComp.width + width) + initOffset, value[1]]

I used a ternary operator (looks like (expression)? value-if-true: value-if-false, which is shorthand for if()then{}else{}) on line 3 to change the initial offset for positive or negative velocities.
Another way of achieving this is to use a while() loop:
var vel = -100;
var pInit = position.valueAtTime(0)[0]; // initial position of a cloud
x =pInit  + time * vel;
while (x < 0- width/2){ x += thisComp.width + width}
[x, value[1]]

In your initial expression when you applied an offset the offset was only applied once, so the loop only happened once. So on line 4 I use a while() loop to add the offset until the value goes back into the range needed.
Once again it can work for clouds going both ways, by checking for the value being greater than the width of the comp:
var vel = -100;
var pInit = position.valueAtTime(0)[0]; // initial position of a cloud
x =pInit  + time * vel;
while (x < 0- width/2){ x += thisComp.width + width;}
while (x > thisComp.width + width/2){ x -= thisComp.width + width;}
[x, value[1]]

The downside to this is that if your frequency is very high and your comp very long it could take a while to evaluate, because it has to go through the loop multiple times. If you had hundreds of layers doing this it could cause AE to get rather laggy.

I don't think you need an expression to achieve this.  You could just loop a cloud moving across the screen inside a precomp.


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How to do overlays/masking like in this video? (Pasting clouds/rainbow/fireworks over sky while camera moves around)

From 0:20 to 0:35.
I want to do something like this video where I paste clouds/rainbows/fireworks/etc. over the background while the camera is moving around, zooming in/out etc. Also keep in mind, people are obstructing the pasted elements as they move around.
For example, from 0:32 - 0:35. The camera zooms in and the pasted elements like the rainbow go right behind the girls. Also, the pasted elements (clouds and rainbow) move cleanly together with the zoom in, making the video look as if the rainbow and clouds were actually there when this shot was initially filmed.
I'm assuming I have to mask around the girls each frame? But if there are other methods to do this, please let me know.
For reference, here is the same music video minus the pasted clouds/rainbows/etc.

Aaagh! My eyes! My eyes!

It's tricky but it looks like it was shot in a Studio (Green Screen) and that they had a bit of red straw and tiny piles of red sand on the floor.
That's why most of it looks like one Shot, because it is - they neither sang and danced then teleported nor did they dance twice and get that many people in perfect sync and switch from one to the other - they sang and danced the whole thing in a Studio and occasionally a foot would shift the red straw or sand.
The result of the Take in the Studio (with green everywhere, except the aforementioned straw and sand) is them singing and dancing with a floor and background that can be electronically (digitally) removed.
A separate Take is done both at the Beach and the Grass Field without any people present.
Proof is sometimes they kick up the Grass (move the straw underfoot) and sometimes they don't when you'd think that they might have had more occasion to do so - but the straw in the Studio is infrequent and you really need to kick to launch it - plus it's difficult to see.
Final proof is that they don't leave footprints on the sand - that's the clincher that 'wrecks' it.
So you have the Clips of them dancing in the Studio, the Clips of the Beach and Field. Draw Rainbows over the 'Field Clips' and drop the girls on top of that.
Masking is only on the bottom of the Frame, to have Sand or Grass to kick, appear in their respective backgrounds, combined with different takes where the 'kicking up the ground' is more or less pronounced (another thing that 'wrecks' it but harder to notice).
It was neither done cheaply (simply) nor did they spend a fortune (make it complicated). If you knew a dozen chicks you could do this on your Home Computer (assuming reasonable CPU power) using a handheld Video Camera and a bucket of Green Paint (plus some red for the ground effect, or double the number of Takes).
I think they used red as well as green because they don't kick up the ground correctly, much like the background doesn't move properly in relation to them. It was better than moderately well done, but not expertly executed.


text:
Continually Rasterize + Write On effect causes layer to disappear
I created a layer from Adobe Illustrator by importing an AI file into After Effects. Then I added the Write On effect and created a "grow" animation. I then clicked the "Continuously Rasterize" icon so that when I scale my image up, it doesn't become pixelated. However when I select that Icon, my layer becomes hidden from the preview window. What's going on? Why does AE hide my layer instead of making it crisp?
I am using After Effects & Adobe Illustrator CC 2017.

I think the write-on effect causes a layer to become pixels (bitmapped), not vectors (I'm sure there's a better way to phrase this).

Rasterize means to convert to pixels.

oops - yes, never post first thing in the morning... fixed...

You could work around it by making the write-on effect on a solid and then using it as a track matte


text:
The videos I uploaded to a Facebook canvas are discolored. Any thoughts on why?
I built a Facebook canvas advertisementwith a mixture of image, video, and carousel elements. When you first load the canvas element, the video elements match the other imagery used in the ad well. Here are some photos of what the video elements look like upon the first load of the canvas advertisement:

However, once you click on the video element to play it, it becomes discolored with a blue hue. I have tried saving out the video in several different color ways and none worked. Currently, I am using no color management and it seems to be the closest match to the imagery.
Here are screen grabs of what the video elements look like after playing:

In the above images you can see the color difference and blue hue that appears after pressing play. Has anyone else experienced issues with Facebook advertisements or canvas elements that have become discolored after uploading through Facebook? I tried to ask on their forums but got no replies. Any insight on why this might be happening would be very much appreciated. Thank you!

Possible duplicate of Possible to use sRGB as mp4 colorspace?

Sorry, its not a duplicate of that question at all. I've already tried all color spaces my video editor could think of and it didn't work to solve my issue. This is not a color space issue. This is specifically a color issue within the Facebook canvas medium.

Hi Liz, have you tried Facebook Canvas forums? They may have more experience with problems specific to their software.

Right, thank you - I tried that but it seems that those forums aren't that useful unfortunately. I posted a question a few weeks ago and haven't gotten a reply so I tried here.


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Is there an inexpensive way to decompose a video into frames and apply a snapchat-like filter to each frame?
I have a friend who has been taking stop-motion pictures, applying a snapchat "art" filter to each picture, then composing them into video (with pretty awesome results). He is interested in mechanically applying filters like that to video. I assume this is relatively trivial in high end (meaning expensive) video or photo editing software. Is there an inexpensive way to do this, say using the Gimp or a similar free/cheap editing software?

Most motion graphics applications can import most video types and apply filters to them. I believe that Adobe After Effects is available for a subscription (so cheap if you use it only for a month), and Apple's Motion is available for $49 from the Mac App Store.
Or if that's too much, I believe that iMovie is only $15 and has a number of simple snapchat-like filters available.


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ffmpeg - thread_queue_size
What is the exact reason of this warning in ffmpeg
Thread message queue blocking; consider raising the thread_queue_size option (current value: 8)

Im sending through the pipe yuv420 video to ffmpeg and streaming to youtube. When warning appears i get fps drops.
Increasing value will help for a while.

What did you raise it to?

512, above im hitting ram limit(rasbperry pi 3)


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Archiving raw video
I am trying to organize the videos on my external harddrive. I have a lot of home video shot with a hand held camera, and now I am using a GoPro 4 camera that I record 4K video with. It consumes a lot of data.
I have tried find out how people organize and manage the raw video. Many of the clips from one day of recording (such as a motorcycle trip) is never edited. It just lays on the harddrive. But it consumes so much space when the bit rate of the 4K clips are something like 45-60 Mbps.
Is it dumb of me to compress the video to a bit rate such as 15-20 Mbps. I am thinking of "merging" all the clips that the GoPro is creating to one MP4 file with h.264 codec and a bit rate like 15-20 Mbps. Is that good enough for later usage if I need to use the clip in a movie that I want to edit?
How do you solve this? If I start to record every ride with my motorcycle it would consume to much space and I don't need that. Thats why I want to do this. But I don't want to be in a position where the clips are too bad for later usage.

what do you mean by raw? if it's indeed raw video (not processed sensor data) then typical video codecs are not applicable

Raw exists because the data is the best quality possible. If you compress you only store a version with less quality... is this what you want, a low quality backup? What would be its purpose?

I don't think the OP is talking about Raw as in raw sensor data, but raw as in uncut rushes.

You need to specify what the "later usage" is. Are you planning on making a theatrically released documentary or just putting it on youTube? The end use will dictate the quality you need.

The way you have worded the question makes it difficult to answer. I keep all mine in default format, because disk space is so cheap. I have a bunch of 2 terabyte drives to store it on.
If you want to compress it you will lose quality, obviously, so you need to decide what quality you would be happy with.
Totally up to you, but I'd encourage buying large disks - they are incredibly cheap these days.


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how to put background or solid block of color on a video
I'm currently producing a top ten highlight video. It includes the names and stats of the players on it and I'm wondering how do I give the text some background so it looks more professional I'm trying to do something similar to this video

I'm currently using windows movie maker live so will I have to switch editor thank you

What element(s) of the sample video do you specifically want to emulate?

I've not used Window Movie Maker, so I don't know it's abilities. However, the area where the text shows up is called a "lower third" because it's in the lower 3rd of the screen. If Movie Maker has the ability to add titles, it might have some named something like "Lower 3rd".
If it doesn't have such a title option already, you can easily create something like the one shown in the video above. Simply make an image in your favorite image editor that has the color bar you want in the lower 3rd area, and is transparent everywhere else. You'll need to save it with transparency, so a format like .png or .tif is best. Formats like .jpg don't save transparency.
Once you have the color bar with transparency around it, you can layer it over your video. (I assume Movie Maker has some way to layer video?) Then put your text over the color bar. Or, if you don't have that ability, you can bake the text into it in your image editing app.


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How to balance audio across multiple clips?
I have a number of clips that I want to uniformly amplify and balance. These clips all include a voiceover from me, during different sessions.

You could create a compound clip of your voice over and then add a Compressor effect onto this compound clip.


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How do I create a random word title?
I really don't know what is the best way to phrase this. But basically what I want is to have a single word on the screen, e.g. AUGUST.
So when the title first starts, all 6 letters will be constantly switching to random letters. Then slowly the letter in first position will stop, so in the example A will stop, then followed by U, G, U, S, T. Essentially it is a bunch of randomly changing letters in place that slowly reveal themselves to form a word.
Am working with Final Cut Pro, have Motion but not sure how to use it. Any help is appreciated. Thanks!

Someone recently asked on another forum in another context for the similar effect, so I created a JavaScript implementation for them, runs in a browser.

I found the answer to what I was looking for in this video, by accident. Leaving it here so others may find it in the future.

I was able to get all letters to generate at once by selecting Custom in the behaviour of how the letters were generated.

Just wanted to add for anyone on After Effects you can very quickly and easily add a character offset.