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How to record myself while not noticing myself?
I am using an Android Oreo phone. I would like to make a video of myself, but while I make it, I want the screen to go blank. This is so that looking at myself on the phone while I record will not interfere with how I end up appearing on the video. This way I can also think about how I would look at another person while I pull the face in thinking about, and then see for myself what my face looks like, so as to be able to foresee how I come across and what I can guess the other person's reaction would be, as seen by reacting myself to myself.
Any suggestions on how to go about doing this?

the easy way ? Yeah. Use a post-it note.

Isn't there a better way? Through some options built into the app?


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Colaborating with 4k multicam proxy footage
I already ingested raw 4K footage and now want to create proxies so I can send them to a friend for editing so he can do cuts transitions and zoom in/out with keyframes. The final video will be in HD.
Default proxy options have no 4K export options (not sure If I need 4K proxy option).
I know how to create a new proxy preset if needed, but not sure which option would be best in terms of sending proxies over the internet. Both of us have high-end PCs and even h264 proxy would be an option, just to keep the files as small as possible. The original footage is 500+GB (ProRes 442), 3840 x 2160.
The reason why I would send 4K is because of zoom in/out with keyframes. If I downscale to 720p, will those keyframes work on original footage and scale properly?
Since my friend will import proxies and will not have raw footage, what kind of sequence (resolution) should he create when working with 720 proxies that will work with my original 4K footage which will be exported in HD in the final video, after he sends his sequence back to me?
Is it enough that I send him proxy folder and original project file only and when he sends it back, I just import his project file in my original project?

Good question. I know that Premiere can use proxies of a different resolution (we shoot a lot of 6k and work with HD proxies here) and things like pan-scan and zooming work fine. But I don't know if you can send a project with just the proxies. I'd recommend doing a test with just a couple of clips.

source: Stack Exchange

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

sort: votes


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How do I join multiple glob inputs into a time lapse with ffmpeg?
I'm trying to combine image files from multiple directories into one combined time lapse using ffmpeg, but when running this code, only the first directory is used in the time lapse. How do I combine multiple glob inputs using ffmpeg?
ffmpeg -pattern_type glob -i "Time\ Lapse\ 11/*.JPG" \
-pattern_type glob -i "Burst\ Sequence\ 5/*.JPG" \
-pattern_type glob -i "Burst\ Sequence\ 6/*.JPG" \
-r 30 -c:v libx264 -crf 23 -preset fast -pix_fmt yuv420p tl11_combined.mp4

I've tried using glob sequence which didn't do anything, so was wondering how to do this. Thanks!

pipe the three sequences in series to ffmpeg instead of reading it as three inputs. See https://stackoverflow.com/a/40872592

Is there any way to do this with glob though instead of individual file names? Each directory could have tons of files, so I'd rather do it with pattern matching than sequentially list all files.

Yes, you can use globbing, see my linked answer.

So if I'm understanding you, you want me to run

cat Time\ Lapse\ 11/*.JPG | ffmpeg -f image2pipe -framerate 24 -i - out.mp4
cat Burst\ Sequence\ 5/*.JPG | ffmpeg -f image2pipe -framerate 24 -i - out.mp4
cat Burst\ Sequence\ 6/*.JPG | ffmpeg -f image2pipe -framerate 24 -i - out.mp4

as 3 separate commands?

cat "Time Lapse 11/*.JPG" "Burst Sequence 5/*.JPG" "Burst Sequence 6/*.JPG"  | ffmpeg -f image2pipe -framerate 24 -i - out.mp4

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


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Fixing flickring old video
I have a bunch video that looks like it's flickering. The video started as Super8 (70s), was converted to VHS some years ago (90s?), and was recently converted to AVI. It looks something like this
Hover the mouse over the yellow area. Hidden because the flickering would probably drive you crazy.

Are there any tools or filters to fix this semi automatically. I thought about trying to write something that extracts all the frames and tries to figure out what level they should be. That sounds like a big project but it got me wondering if this is already a solved problem.

You can use Premiere Pro or similar video editing software and plugin Flicker Free from Digital Anarchy with one of the preset.
Result of plugin work

Settings of the plugin in my case

Also I know some other methods but they are poorer and harder.


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how can I convert slow motion video into normal speed without losing fps or audio sample rate?
I want to download a slow-motion video playlist (with the frame rate of the videos being either 480 fps or 1000 fps.) and be able to speed up the videos at least 16x without losing the frame rate or sample rate. So, if anyone could help me with this I would really appreciate it!
Thanks!

Welcome! Either I'm not understanding you right or you are asking for something isn't possible. If you speed the video up from 480 fps to 30 fps, you have to discard some frames. Or are you asking if there is a way to play the 480 fps video at that frame rate? That would require a display that can handle that frame rate and those are not commercially available yet.

i think he's saying he wants a 10 second 500fps clip to become a 5 second 1000fps clip, for example. But i also suspect this might be a 24fps video of a 500fps slow-motion capture, which isn't the same thing.

@MichaelLiebman Hello! Yes, what Sirex said is correct, it would be more convenient to be able to watch a slow-motion video sped up to normal speed on a 60 fps monitor. But then when I need it slowed down, I could use software or something to view it in slow motion.

This is sadly not possible.
You could theoretically have a video with effectivly 500 FPS, but that won't play on any device.
That's why cameras generally record to a project frame rate (Normaly 24, 25 or 30 FPS) and just stretch out the video.

Okay, thanks. But when you said, "You could theoretically have a video with effectively 500 FPS, but that won't play on any device." Do you mean that the device that tries to play it will crash or that it won't play higher than 60 fps? I'm fine with it only playing 60 fps if that's the case...

@TheRedstoneGuy It won't crash the device, at least not any modern and decent device. But it will lag. As the player will try to read all frames. Stick to the standart and just let it play at frame by frame speed

This is a contradiction.
If you want to change the frame rate speeding up you have to change the frame rate.
You could try to playback a video at 16,000 fps... Why would you need to playback a video to 16,000 fps if no human or living being could notice the difference to let's say 120 fps?
You also need a monster of a computer to playback that among other technical problems.

But then when I need it slowed down, I could use software or something to view it in slow motion

Ok, so have two versions of it, one converted to normal speed and the original.

Yes, I would like to have a 500 fps video or something but would the computer crash trying to play the file even with a 60 fps monitor?


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remove items dependencies
I'm using Final Cut Pro X and I would like to delete the dependencies between the items:

I don't know where to "unconnect" the elements.
Thx

All elements not on the main storyline must be attached to something on the main storyline. That is an essential design from FCPX.
You can move elements not on the main storyline to any position and it will link to the underneath main storyline element.
However the link point can be shifted to an extend.
Select the attached element you want the link to sift. Hold down Command-Option and click somewhere in the attached element. The link to the main storyline will change to the position you just selected.


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Screen recorded videos have audio sync delays in Premiere Pro
I imported several MP4 screen recordings (using Windows Game Recording) into Premiere Pro to edit together, but I noticed all but one of the clips in the timeline have unsynced audio issues.
After investigating a little, I believe the root of the problem to be the fact that each of the videos have different audio bitrates, data rates, and total bitrates (when looking at their properties). I think that when I set a sequence's settings to match the first clip, the audio follows the bitrate of that clip and other videos have skewed timings.

Does anyone know a fix for this to somehow edit together files with different bitrates in a way that wont change its playback speed?

Video and audio tracks having different bitrates shouldn't affect sync (as far as I know).  Audio is usually recorded at a lower bitrate than audio because it requires less information to be stored

Okay so I found the issue and a quick fix for the .mp4 audio sync issues. First you need to backup your video files, then change the file extension from .mp4 to .mov. This will allow you to reimport with accurate playback speed.
If Premiere gives you a weird error upon importing, make sure you have QuickTime installed from Apple's website, restart, and then try again.
The fix came from this video, and I hope it helps someone else!


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Remove coughing or sudden loud noises
I was recording a series of videos while I was recovering from a cold and didn't realize how bad my cough would come out in post production. On a quite infrequent basis a loud coughing noise pierces the audio while the person who I'm recording is talking. How can I best remove or decrease these coughs and loud noises while maintaining as much of the other sound fidelity, ideally in Premiere Pro but if not with other software. I can provide a reference cough for a software solution.

If you have Audition, try using the background noise removal effect. If you capture a clip of solely the audio you want to remove, Audition will identify that frequency and remove it wherever it appears. Might need manual correction since sometimes it the reduction at those frequencies can be extreme.

i would attempt this by trying to find the frequency of the cough and then nuking it with EQ, turning the EQ on and off when needed via automation. You might have to dip the overall level for a moment too if its still too bad.
I'm guessing that in future having a second mic might help also so you can cut to that and it might get a better signal of the intended source.

I think the easiest way is with the Spectral Frequency Display. Sounds like coughs, air conditioners and so on appear as blobs or lines that you can either erase or reduce in volume. Much more effective than EQ, since you can target all the frequencies and the exact timespan. From Adobe:
"The spectral display is perfect for removing unwanted sounds, such as coughs and other artifacts."
https://helpx.adobe.com/audition/using/displaying-audio-waveform-editor.html

One great option might be iZotope RX for noise and background removal.
It works wonders e.g. with tape hiss. Might be great for coughing, too.


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Calculate after effects composition un-stretched time
How can I get or calculate the original current composition time of a time-remapped or stretched layer?
My composition has both stretched and non stretched layers and I want to display the current playback time (relative to the composition) as it would be if non of the layers were stretched.

The source time of a layer is found with the expression
thisComp.layer("some layer").sourceTime()

More about it can be found by reading the manual.


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audio jumps to next frame rate - premiere pro
I have the following problem: 2 video clips with two audio clips. I try to synchronize them with the option "show audio units" to make them perfectly alligned. The problem is, when I select both video and audio, the audio than jumps back to the next frame rate. I lose the exact setting I did when synchronising the files. I did a video to show the problem. Any help would be appreciated.

I think you should try aligning only the audio when you do this.  The video tracks have to be aligned to the nearest frame, because video is either showing frame 1 or frame 2 (assuming your sequence frame rate is the same as your footage frame rate).
Audio is sampled at a much higher rate than video.  e.g. your video could be 25 frames per second, but your audio could often be 48kHz, so sampled 48,000 times per second.
Your ears can detect very small variations in delay between audio files (of a few milliseconds), and your ear/brain/eye combo can detect very small discrepancies between audio and video lip sync (22ms according to this).


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Easiest way to create video with multiple videos on loop
i would like to attempt doing a video of me playing a song (with several instruments).
So i want to create multiple videos... each with with a instrument (like people usually do)
so if i have 4 different instruments playing together i will have 4 videos which then will be fit on 1 video at same time.
I was wondering what's the easiest way to achieve this.
Which software do you advice? (free and paid)
my experience on this is just doing something here and there with youtube and windows media editor software (which i cant remember the name)

I figure out it might be easier to buy an android app such as momentic's videocollage or acapella maker.

You need a stage with an area for each instrument, and video yourself standing in that area while playing that instrument, then overlay each instrumental track onto a master track. It's a type of clipping, selecting portions of the video by reducing the frame width keeping the height, and glueing/synchronising them side by side.
Many of the newer Video editing software can do this. (Even some of the free ones)  It boils down to lighting and timing, to be the same for each instrument you play or the effect is spoilt.


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Absolute Beginner Looking to Produce a Primitive Music Video
I am a total beginner to video. I don't even know what kind of camera I'll be using. (I'll have to borrow one.) I am just looking for an overview of what the general process will look like.
I have an audio track of a song I wrote. I want to make a 'music video' of myself turning over pages on which the lyrics are handwritten. So as the song plays, you would see me flipping over the pages. But I'd like to include 'cut-ins' from different video files. For example, at one point the song talks about walking, and I'd like to create an effect of footsteps appearing on the page in real time. So each 'frame' would have a new footstep. Hopefully that makes sense. Along with a few more 'cut' effects of that kind, which it seems to me would require splicing together different bits of video and getting the timing right.
So my specific questions are:
1) What's the best software to use for a project like this? Preferably free and able to operate on a Windows 10 laptop. I have Adobe Premiere Elements. The learning curve seems high, but so be it.
2) What's the general procedure for making sure that my audio and my video sync up correctly? I will be working with an existing file, so obviously I can't sync by creating the audio and the video simultaneously. I have to sync them after the fact. Is there a tried-and-true method for making this happen in my situation?

This site does expect users to do a bit of effort before asking questions that have already been answered many times — the ol' "what's the best free software?" question has been asked so many times the paint's wearing off.
As for the second part, in any editor you have the ability to edit audio and video separately, so for a music video you lay down the music on one of the audio tracks, then cut your pictures so they work with the audio. You can move the pictures around independently of the audio and vice versa.
If there's video that needs to synch precisely, say if you're playing or singing and you want it to match the music, most NLEs (Non Linear Editors) have the ability to automatically synch two clips based on their audio.

Yeah, well, the ol' 'reprimand the self-proclaimed beginner looking for help' has worn pretty thin, too. If you're so out of patience with beginner's questions, maybe don't look at questions that start with 'Absolute Beginner'.

Have a look at the FAQ for this site. Questions and answers on this site are designed to be a resource for people with the same problem. Usually duplicate questions are flagged for removal, because the goal is to have all the answers for a particular question in the one place. I took the time to answer the part of the question that wasn't a dupe, maybe you should take the time to learn how this site works.


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Can ffmpeg downsample pixels perfectly?
I've tried all the swsflags options and figure the answer is no, but it can't hurt to ask just in case.  For example: downsample from 1920x1080 to 960x540, then upsample back to 1080 using the neighbor flag to recreate a perfect copy of the original 1080 image.  Neighbor comes very close but there seems to be some color shifting happening in the downsample.  Can another filter accomplish this, or is it simply the nature of the beast that downsampling will never be perfect?

When you downsample, you lose some information. That can't be restored.

rather than downsampling, potentially lossless formats like PNG -- to a lesser extent "mixed-loss" formats like JPEG, turn portions of a raster to vectors -- or at least simple patterns. --- i.e. "Dithering" is basically a method of losing some information on purpose to squeeze a region into a similar (but simpler to compress) gradient. When you have a graphic on a solid 1 color background, --- PNG compresses the repeating colors into a data structure rather than storing a flat pixel array. These are ways to reduce or prevent loss while reducing filesize. Downsampling always has loss though.

TL;DR: Rather than downsampling; you may really want to ask around about lossless compression if file size is a goal. If visuals are the goal there are two other major factors: maintaining aspect ratio and aliasing.

The information on an image is not made of rubber, you can not shrink and expand an image that way.
Downsampling is re-sampling. Making new data out of the initial information. Normally it is based on an average.
One example.
I make a poll on how many times a week do people eat icecream in summer.

Jane 2
Jack 2
Sue 3
JohnTheIcecreamEater 7

The average is 3.5 icecreams per person... average.
If I tell you that the average of lemonade drinks on the same week is 2, you have no idea what the original values are. You do not know if there is a JaneLemonadeDrinker or not.

There is NO way to reconstruct the original data from an average, from a downsampled image.

There are some algorithms that can assume a bit of new data and invent it. But having the original data is way better for detailed information.

That violates the rules of information theory. Look into the work of Claude Shannon if you wish to understand why what you are asking is mathematically impossible.


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Increase Volume of a specific mxf channel with ffmpeg
I have a MXF file with 6 mono channel (part of a 5.1 mix), How can I create a new mxf increasing the volume of the third (center) channel without reencoding video and the other audio channels?

The command template would be,
ffmpeg -i in.mxf -map 0 -c copy -filter:a:2 volume=2 -c:a:2 pcm_s16le out.mxf

Works perfectly! Thanks a lot

After you ask a question here, if you get an acceptable answer, you should “accept” the answer by clicking the check mark next to it. This scores points for you and for the person who answered your question. You can find out more about accepting answers here: How do I accept an answer?, Why should we accept answers?, What should I do if someone answers my question?.


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Reimport exported file and make all the cuts same
In Premiere I am working on an hour long project with around 500 cuts from 3 cameras.
Since there is heavy grading and noise corrections to do, when I get this kind of footage my first export is only color, then I reimport the clip and do all the noise corrections.
This kind of workflow saves several hours on export and I have tried it many times so I do not plan to change it.
Question: Is there a way to make all the cuts on imported clip like they are on timeline ?

It could be done automatically with scripting, but scripting premiere is undocumented and requires a bit of experience.
A workaround is to use the keyboard shortcuts. If you put the reimported clip on a new track in the original timeline you can use the ↓ key to jump to the next cut, then hit shiftctrl/⌘k to add an edit at the playhead across all tracks. Rinse, repeat. You could even map the add edit command to a single key to make it easier, e.g. x. Then its just a matter of hitting ↓then x 500 hundred times. Something like Autohotkey (there's probably an equivalent for those still stuck with a Mac) can automate that process to make it even easier.
Or you could use a less insane workflow. Oops did I say that out loud?

Unfortunately not, If I export everything at once it takes around 17h, if I split export in doing color on first export and nosie reduction on 2nd export its total of 4h.

What software are you using for your grade?

Everything is done in Premiere Pro.

If you want to replace your edited but ungraded footage with your graded footage, you can do this by using "Replace Footage", to swap the footage out, which will keep your edits but replace the media used.  Make sure all the graded media is exactly the same length and frame rate as your ungraded media.  Make sure you save your project as a different version before doing the Replace operation in case anything goes wrong.
But, I would strongly suggest that your workflow isn't saving you time.
My suggestion:
Do the cuts first before the grading.
If you plan to universally grade each camera, ie one grade per camera, you can do this by applying noise reduction & Lumetri effects to the Source Clip instead of to each individual clip in your timeline.
Your current process requires you to render at least 3 hours of graded footage.
The proposed version only requires rendering 1 hour of graded footage. If you want to see how the footage is looking while you're editing you can turn the noise reduction & Lumetri effects on or off quickly by bypassing the effects on the source footage.


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ffmpeg convert .png to DNxHD .mov and scale color to bt709
I have an 8bpc .png sequence in RGB color space (full range 0-255 of course) that I need to convert to DNxHD bt709 "legal" range (16-235). Here is where I am so far:
ffmpeg -framerate 23.976 -i input_%04d.png -vcodec dnxhd -b:v 175M outfile.mov
This throws an error: pixel format is incompatible with DNxHD profile. I used to do this all the time in a earlier version of ffmeg with no issue... I assume it has to do with the color space, and in looking through the "colorspace" filter documentation I am uncertain what the proper command would be. As mentioned I do want to actually transform the values to bt709, legal range.

ffmpeg -framerate 24000/1001 -i input_%04d.png -vf format=yuv422p10le -c:v dnxhd -b:v 180M output.mov

Use 24000/1001 or ntsc-film instead of the inaccurate 23.976 byname.
This encoder only supports the following pixel formats: yuv422p, yuv422p10le,  yuv444p10le,  gbrp10le. See ffmpeg -h encoder=dnxhd.
This encoder only supports specific combinations of bitrate, width, and height. See a list with ffmpeg -f lavfi -i nullsrc -c:v dnxhd -f null -.
bt709 should be automatically chosen, but verify it is what you want. See output of ffmpeg -i output.mov.

Thanks for the info but when I tried setting the format to yuv422p10le I experience some color shifting, particularly in green, and when sampling the output in a few different applications it is not "clean" in that some values go above and below legal range. From what I've read online "colorspace" seems the best way to handle this I am just unsure of the syntax.

Ok I did get this monster to work: colorspace=space=bt709:trc=bt709:primaries=bt709:range=tv:format-yuv422p:iall=bt601-6-625 however I am still above/below legal range in some of the channels. Possibly this is due to compression... Anyway my question is what the input characteristics should be? I chose bt610-6-625 arbitrarily, and when I scan my pngs with Exiftool the only metadata I get is "RGB" but not color space. Visually this looks ok, so maybe it is fine?

PNGs typically are in sRGB colorspace - which has same primaries as bt709, but a different transfer function (gamma) and colorspace.


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Importing Adobe Illustrator files as Parametric shapes in After Effects?
I need to rig up some expressions to a shape layers "size" and "position" parameters and the layer transform "position" parameter as well. When I create the shapes directly in AE there are the shape parameters of size, position and rotation. Though, when I import AI files and convert them then they lose the options of the shape itself and the only option that is available to edit is the "path" parameter.
How do I import AI files as parametric shapes not a bezier shape?

The overlord plugin can do this with simple shapes from AI.
https://www.battleaxe.co/overlord/

I don't think that it's possible to import AI shapes as parametric shapes (in 2019 at least, this might change, with luck). There are workarounds that can help though.
If you convert the AI layer to a shape layer you can get the individual points of the path like so:
var pts = thisComp.layer("test Outlines").content("Group 1").content("Path 1").path.points(t = time)

where the layer "test outlines" is the shape layer created by converting the AI document, and Group 1 is one of the paths in the shape layer. Then for a rectangle you can get the size like this:
var pts = thisComp.layer("test Outlines").content("Group 1").content("Path 1").path.points(t = time);
var size = pts[0] - pts[2];

if you want to set the size you could do the reverse, putting this on the path property:
var size = [123, 45];
var pts = [[0, 0] - size/2, [0 - size[0]/2, size[1]/2], size/2, [size[0]/2, 0 - size[1]/2];
createPath(points = pts, inTangents = [], outTangents = [], isClosed = true);

if you do the substitutions you'll see that the second line works out to
[-61.5, -22.5], [-61.5, 22.5], [61.5, 22.5], [61.5, -22.5]]

which describes a rectangle 123 wide and 45 high.


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How to determine which modules needed for licensing FFmpeg as part of an app
I developed an app that uses ffmpeg for some simple muxing, which I am going to sell. I contacted MPEG LA about licensing, and they said I the license I need depends on which codecs I use.
Is there any way to determine which codecs/libraries are actually being used by a particular ffmpeg command?
If not, is there any way to temporarily disable/enable options to see if they are required for a given operation?
FWIW, my operation doesn't re-encode anything. It uses c:v copy and c:a copy with a map function to re-arrange audio tracks. In some cases it converts pcm_s24be to pcm_s24le.

I'm voting to close this question as off-topic because it’s a legal question.

There's no legal question being asked - the goal is determine which codecs/libraries are actually being used by a particular ffmpeg command

In general, the codecs involved in a pure muxing command are the decoders and bitstream parsers for the codecs of the streams in the input file.
Even though there's no decoding or encoding requested in a pure muxing command, ffmpeg uses the decoders to acquire the attributes of the streams in the input. These attributes are then passed on to the muxer, which will write in the header/metadata section(s) of the output file. This has to be done because the attributes of an encoded stream is stored in a form specific to that codec.

The video codec is Avid DNxHD (in an MXF container). The audio is PCM. So which codecs are required for that? MPEG LA suggested it's the AVC library. Not sure.

ffmpeg does not require AVC decoder in order to decode DNxHD. I don't know if DNxHD decoder is relevant in terms of MPEG-LA patents.

I found an easier solution ... I'm going to let the end user download their own copy of ffmpeg – my app just calls it.


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How do I change output file format in ffmpeg batch, when using drag and drop?
I've been searching around for this for some time but can't find a working solution.
I found this question, which is close, but not exactly what I need.
I'm windows and ffmpeg to convert movs to mp4.
What I would like to have is a cmd file on my desktop on which I can drop my mov from any folder and the cmd file will create an mp4 with the same name in the same folder as the original mov, except the extension should be mp4.
My cmd file looks like this:
@echo off
ffmpeg -i %1 -s 1920x1080 -c:v libx264 -preset slow -bf 2 -crf 18 -pix_fmt yuv420p -movflags faststart -r 25 -profile:v baseline -level 3.0 -c:a aac -b:a 192k %1.mp4
pause
This creates the file Test.mov.mp4.
I tried
-f mp4 "%1~nf.mp4"
instead of %1.mp4 but this outputs Test.mov~nf.mp4.

Use  %~n1.mp4.

Ah thank you! Now I sort of get it. Although I had to add the path as well, so now I have %~p1%~n1.mp4 and it works!

You can add that as your answer.

With Gyan's help I was able to get it to work.
%~n1.mp4 will get the filename and substitute the file extension with mp4.
To get the correct path as well, I added %~p1.
So all in all I now use %~p1%~n1.mp4 and it works exactly as intended.


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A simplistic video streaming container format
I am currently working on a screen-sharing solution for an embedded system. Basically, I need to be able to see on my PC screen what happens on the device's display. I already have a solution that produces raw H264 frames which I can send over to the PC for presentation. I have experimented with the raw h264 stream format, but it does not allow me to detect the end of frame until the header for the next frame arrives. Since I only send frames in case anything is updated on the screen, there can be a substantial delay between separate frames. This means that the user will most likely see the one-before-last frame instead of the latest for an extended period of time.
I thought about using simple size prefix before each H264 frame, but such stream will be non-standard. For debugging ease (and user convenience) I would like to send stream that would be directly playable in major video player software (mplayer, vlc, etc.). Is there a simplistic but well-known video container format that is supported by major video players? It needs to be able to contain just a single H264 video stream (no audio or any other data, no further video streams). Ideally, I would like it to be simple enough to be able to implement the muxer myself without too much bother, as additional dependencies like ffmpeg are most unwelcome in the project.

For productive answers, the current and available A/V software stack on the device has to be known. Which AVC encoder are you using?

@Gyan My current solution uses libva (implementation of the VA API), and is roughly based on https://github.com/wayland-project/weston/blob/5.0/libweston/vaapi-recorder.c


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Resize images for timelapse before editing or at export of finished video?
I'm creating a timelapse video which contains around 200,000 pictures.
Before cutting them together i will do some batch color correction with Gimp. Later in the video editing stage (probably using Premiere) I dont plan to change the images but merely cutting them together.
The current image size is 4000x3000 pixels. The final video will be in 1440x1080 pixels.
Should i do the resizing combined with the color correction in gimp or when I export the file from my video editing software?
Does it make any difference?

This question has some time, but I would like to comment.
Efficiency
In my opinion, the first step would be a batch resize and crop. Do not overwrite the original, but generate a copy instead. There are several programs to do that, that do not even "open" the file.
The reason is that after this step, you can work with smaller-sized assets and not have to drag a humungous file on the next steps, even the planned color adjustments. That is a common task in video editing, so you will have perfectly capable color correction tools on video software. No need to use Gimp.
Even on normal editing, is common to use a lower resolution proxy when editing.

An additional note. 1440x1080 is not a common aspect ratio. Some players or users could be tempted to resize to a more common 1920x1080. So it is better to make that decision yourself.
If you do not want to make that decision yet, In my opinion, is better to resample the photos to 1920x1440px first, and use those to make the video. They are easier to work than the original, and you can choose to crop or not once you see the sequence as a video.
Then you could either crop to FullHD without sacrificing the sharpness, or if you still want that aspect ratio, then resample the video once finished.

If I could suggest, use Photoshop to import a sequence of images (they have to be numbered chronologically). There you can edit the sequence just as you would edit a normal photo. Export it as video and then edit with editor of your choice.
I would resize only in the video editor as it gives you the option to change which way you might crop and so forth.

If I could suggest, You can use Photoshop to import you Pictures, Then Export it as video and then get it edited with editor of your choice which i would Recommend You  to use Prem. pro


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Imported video is extremely choppy in Premiere Pro CC 2019
Ok, so I've imported a QuickTime movie file into Premiere, and when I played it in the preview window, it was really choppy, and it played the first three seconds over and over for the entirety of the video. I put it into the timeline and the same thing happened, the audio worked perfectly, but the video kept lagging behind and cutting up periodically, I've had this problem to a lesser extent with after effects, but nowhere near as bad as it is in Premiere, I'd appreciate any help.

Try setting the playback resolution to a lower setting. Depending on your periphery and the footage you're handling, it is quite normal for premiere to lag behind the realtime playback. Solutions for fluent playback might be:

Lowering the playback resolution (1/2, 1/4 or 1/16)
Using Proxies (smaller files, usually half the resolution. A quick google search tells you how to do that.)
Giving Premiere more RAM to play with and cleaning your cache.
-> You might need to go to edit -> purge and select purge all. Cached frames are frames that sit on a harddrive on your pc, so they don't have to be calculated every time they're played. Other then caching on the harddrive, premiere also caches into the RAM (random access memory) which acts like a very fast harddrive (although much smaller). Depending on how much RAM you can afford to assign to premiere (usually half as much as your total ram, preferably more than 8GB) you should up the amount dedicated to premiere. This setting sit in the memory section of the settings.

Okay so i did exactly this, I gave it another shot and it still doesn't work, I also tried a couple more proposed solutions like rebooting premiere, rebooting my computer, deleting the file and making a new one, converting the file into a different type, updating premiere, even deleting premiere and reinstalling, and using a different computer, and the problem still persists. I might as well just end it right now. The strangest thing is that at one point the issue solved itself for no apparent reason, and it exported fine, but when I opened the original premiere file the problem came back.


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How to export ambient occlusion shadows only from Arnold Maya rendering to do multi layers composites
I cannot find a way in Maya 2019 to create a rendering pass that only contains ambient occlusion generated shadows. I can do that with aiShadowMatte producing an expected alpha channel containing the shadows only but not with ambient occlusion shader aiAmbientOcclusion.


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How do I upload video of combination of different match cricket clip to YouTube without Copy-right
I want to upload some best interesting facts by combining different match clips.
Example best catches, abnormal out, best spin, etc.

It's hard to answer your question unless you give us a bit more detail — who shot the clips in question?

I want to mix the clip of old & new cricket match to highlight some of the best catches or stumping etc., or may to highlight top performance of any player


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Track and replace a t-shirt design on a moving, distorted garment
I'm wondering what would be some viable techniques to replace a t-shirt design some person is wearing in a footage with another design. Here's a simple example:
https://placeit.net/c/mockups/stages/hipster-man-wearing-a-round-neck-tee-video-outside-a-store-at-night-a13565
This is online tool that allows anyone to upload an image and then puts in on a video footage. I'm interested how it might be reproduced in a program like After Effects or Premier.
It's important that image should follow any distortions/creases of the garment.
I've used Mocha planar tracking in After Effects, but I don't think that's sufficient because it only tracks one or few planes and it would be really hard to replicate distortions/movements of the garment. Is there some easier way?
I'm able to print any tracking markers, lines or anything else on the shirt that would help.

Nuke's Smart Vector toolset is built for this exact problem. I see you tagged After Effects, but you did not specify that After Effects is needed. I've done this a few times before and Mocha is your best bet for AE, but as you already know it has it's limitations. Nuke can actually track the creases and folds (though of course it isn't perfect). The biggest factor I've seen in my tests is shot duration - the longer the shot the more the vectors get all messed up. That said it can sometimes do magical things! I believe you can rent Nuke for a decent price if you just need to do one shot.
Here's a tutorial showing how to replace part of a shirt. It is a bit older, but because it addresses exactly what you are trying to do I thought I'd link it:

If you absolutely need to use AE I would combine a mocha track with a puppet warp which is hand-animated. Using Mocha you can stabilize the footage, overlay your logo and keyframe the puppet warp, and the re-track it back into the original footage.

Nothing Nuke-specific to that technique.  Here's a tutorial on how to do it fo free in Fusion.  https://moviola.com/technique/tattoo-removal/

By strange coincidence, I happened to notice that the website that OP's asking about uses Fusion, internally.  One of their employees was asking a question about it on the steakunderwater forum a few months ago:  https://www.steakunderwater.com/wesuckless/viewtopic.php?f=6&t=4054&p=31563&hilit=placeit#p31563 Nevertheless, I appreciate seeing your post, I hadn't thought to use motion vectors for that purpose before.

My god, this is practically the nightmare of any vfx-artist out there. Yes, it is possible - but at what price? You need to:

track the shirt using Nuke, pfTrack or any sort of high-end tracking software.
erase the current design, either using the logo if you have it as a file to subtract it, or by painstakingly rotoscoping and patching up every frame of your footage.
recreate the lighting, folds and creases at the places you patched out the old logo.
attach the new logo to the tracked motion
recreate parallax and layering of the fabric in creases, most likely by keyframing every frame of the footage once again.
color correcting the replaced part so it fits in with the rest of the shot.

This may sound straight-forward and manageable, but it is a hell lot of work. Make sure to really think about this before attempting it - maybe go out with your t-shirt design and shoot the scene yourself. You will probably save yourself a lot of nerves and money.


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How to remove steady video frames from 24/7 video?
I have a surveillance camera video backup that works 24/7, and I need to store it for the record and ready to use if any checking is needed. (No Business usage just personal)
So I want a tool/software/..etc that can help me remove the duplicate frames or even check for example frames per minute and if they are not different remove the 60 seconds frames.
I'm sorry, I'm not a video editor so I've no XP in that matter.
If there is no such a tool, I'm a software developer with somewhat decent matlab experience with image processing, but I don't know if I can have something to help with the matter.

mpdecimate filter drop frames that do not differ greatly from the previous frame in order to reduce frame rate.
This command will filter the duplicate frames
ffmpeg -i input.mp4 -vf mpdecimate -loglevel debug -f null -

To remove these duplicates and generate a video
ffmpeg -i input.mp4 -vf mpdecimate,setpts=N/FRAME_RATE/TB out.mp4


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Trying to do a "clipping mask" a video to an image in After Effects
I'm trying to do a clipping mask a video to an image in After Effects. Basically, I'm putting this video on top of an iPhone but track matte settings doesn't seem to be working for this. I saw Luma Inverted Matte setting works for what I'm trying to achieve but it leaves my video with like a white overlay on top (see screenshot).

I've already searched the ends of Google for this but can't seem to solve the problem. All I'm really trying to achieve is post my XD prototype on Dribbble but to do so, I had to record my screen, import it to After Effects and now deal with the iPhone background. Please help!

Track mattes work by applying the alpha (transparency) or luma (≈ brightness) of one layer to the transparency of another layer. So in the case of an alpha matte, if the upper layer is transparent in an area (or opaque for alpha inverted), the lower layer will be too. In the case of luma mattes if the upper layer is black (or white for inverted*) then the lower layer will be transparent. The amount of transparency is controlled by the Luma of the matte layer.
In your example To get fully transparent / opaque mattes use curves or levels or brightness and contrast effects to adjust the contrast of the upper layer. Or use whatever you used to create the image and output one with a transparent / black background.
 *could be the other way around, I always forget


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After Effects: How to make 3D path
I am trying to make a 3D path that will be used as motion path for a object as well as base for Trim Paths.
In other words, I would like to create something like Nyan Cat. I am going to use a path to animate movement of a 'cat' and to use same path to animate 'rainbow' by using Trim Paths. A 'cat' must move through 3D space eventually. Not sure if I chosen right direction so I would appreciate any tips about best practices for that kind of tasks.
However I would really love to learn how to create 3D paths to use them as trajectory for a camera, for example.
What I tried:
To create a circle -> make it 3D ->change its orientation -> convert to Bezier Path-ctrl+c. And then if I try to paste the copied path into an object position it get inserted as a 2D path. I could create 3D motion path for a camera manually using a Pen tool, however I would like a path to be a right circle.
Sorry if my question seems to be stupid, I am a really new. Thank you in advance!

Create a path with the Pen Tool first, copy the property path under:

Contents > Shape 1 > Path > Path

Create a NULL object and paste the value you just copied to its position property.
You now have a NULL that follows your 2D path.

To enable the Z-axis of the NULL position, toggle the 3D Layer setting.
Click on the NULL position property and then get into the Graph Editor, in the bottom bar click the icon Separate Dimensions, this way you now have the 3 axis as separate properties.

You can see the Z Position is set at 0 without keyframes, despite the other 2 axis, play now with the Z Position and add keyframes as wished to give a 3rd dimension to your previously created 2D path.

You can link a camera to the NULL object.


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How to calculate video file size for H.264
I need to estimate disk usage for a media project. In order to do that I need to calculate typical file sizes for different video duration and resolution.
Example: Given a video with the properties below what is the formula to get the resulting file size?
fps: 20,
resolution: 480p,
duration 5 mins,
Encoding: H.264


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How do I assign an input video's framerate to the output video when multiple input arguments are present?
To my understanding, if you have only one video input, its native framerate should be used by default if -framerate isn't explicitly defined. For example:
ffmpeg -i in.webm ./frames/image%05d.png

will extract an image sequence from a video using its native framerate. For a 5.4 second video with a native 30 fps, that means 162 frames will be extracted.
Now, I have a video with audio. I extracted an image sequence from it as above. After doing some edits to each frame, I want to join the edited image sequence back together, using the original framerate, and add the audio stream back in.
Right now I am able to do this over multiple steps:

Manually get the original video's framerate
ffprobe -v 0 -of csv=p=0 -select_streams v:0 -show_entries stream=r_frame_rate in.webm
Let's say the output is 30/1
Merge the edited image sequence back into a video, using a hard-coded framerate
ffmpeg -i edited%05d.png -framerate 30 -c:v libvpx-vp9 -pix_fmt yuva420p -lossless 1 out.webm
Merge the original video's audio stream into the new video
ffmpeg -i in.webm -i out.webm -map 0:a:0 -map 1:v:0 -c copy final.webm

The exact code is roughly like that. In any case, I definitely had a working version last night.
Originally, I had tried to do everything in one step: generally speaking, the two ffmpeg commands above merged into one, but without -framerate, since I assumed based on research that the input video's framerate should carry over.
However, that did not happen. After analysing the output, it seems to me that ffmpeg failed to detect the input video's framerate, so the output video was assigned a default 25 fps instead. How can I resolve this, so that the output video is automatically assigned the framerate from one of the input videos?

-framerate is an input option for image sequence input, so it goes before that input.
Here's the combined command:
ffmpeg -framerate 30 -i edited%05d.png -i in.webm -c:v libvpx-vp9 -pix_fmt yuva420p -lossless 1 -c:a copy out.webm


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Advice for using FD lenses?
I’m interested in using old FD lenses for filming. Has anyone got any experience with this? What camera did you use? What adapter? Did it work? Were there any issues with focal length, cropping, or flaring? Would appreciate any advice!


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What is the maximum 2D video quality on Oculus Quest?
If you want to create a 2D video to display on an Oculus Quest VR Headset, what is the highest video resolution the Oculus Quest is capable of displaying?
720p or 1080p or 4K or what?  Do the technical specifications shed any light on this?

2560x2560 per eye
The maximum recommended video resolutions for Oculus Quest and Go are as follows:
3840x3840 30fps H264 H265
4096x4096 30fps ---- H265
5760x2880 30fps H264 ----
2880x5760 30fps ---- H265 (* see below)
2880x2880 60fps H264 H265
4096x2048 60fps H264 H265
taken from here


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RAW Format videos database
there is an online database for raw videos?
I wanted to download some videos in RAW Format for a university work and I can't find none.
The job I have to do is to encode the RAW video with different codecs, but for that I will need some RAW videos. All the videos I found are encoded with some codec. Can you help me?


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How to quickly merge a LOT (and i mean a LOT) of footage?
As the title says, we had an event recently and I plan to make a movie with the video from the event captured by four separate cameras. The files are ~500kb each. There are four folders, each with about 15000 files. I'd like to make one video per folder.
I've tried putting them in a storyboard in Windows Photos and I'm currently trying to Open Multiple Files - Convert with VLC. My i7-4770 is having a hard time with it, the files are on my Samsung 860 EVO SSD but this is still taking forever.
Anyone have any bright ideas?

I assume all files in a folder have the same media properties. If so, see ffmpeg's concat demuxer - https://trac.ffmpeg.org/wiki/Concatenate#demuxer

Hey Gyan, thanks for responding. I'm running the batch file now, the list creation worked like a charm so I assume the actual concatenation will also work. Thanks again!

Hey Gyan, hope you have another answer for me. I got a file from my smaller files that showed the most of what I was looking for, but not all of it. I got the error "pts has no value" a lot, should I assign a pts to my command? I ran a batch script from the source folder that was:
ffmpeg -f concat -safe 0 -i mylist.txt -c copy videofile.mp4

Does the output play fine?

Thanks for responding. No, I'm missing about two hours of footage and some of it is very laggy. I've tried outputting it to AVI now, my theory last night was that it's just too much footage for mp4/m4a or some of the files are too short.

@Gyan I'm trying Matroska now, seems like it handles timestamping a bit differently. Maybe you could shed some light on different file containers for me? The source files are mp4s, some 2 seconds, some 3 seconds, all h264 aac 1080p15.

My final command was ffmpeg -r 15 -f concat -safe 0 -i mylist.txt -c copy videofile.mp4. Timestamping hass not worked, but since I'll be using the videos for a storyboard editor, I think I'll be fine. I would love to learn more about this though.


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Software to host multiple camera images at once
We are looking to set-up a page of multiple camera outputs on the same website and make it available to multiple people via the web. Kind of like a security or traffic camera screen with multiple cameras always in view. It is even fine if it's just still images getting updated every 10 seconds or so. The main requirement is that it should take zero set-up for the users, nothing to install, no long loading times, etc. Ideally just a webpage showing the images of all cameras.
I am sure there must be existing solutions, that we can just plugin into, something in the security or traffic space. But I can't find anything online, I think part of the problem is also that I don't know what terms to search for. Does anyone have any hints for me?

Since the advent of HTML5 you can do this with a standard webpage that contains multiple  elements, with no special software required. This will embed a video in a page that any modern browser can see.
<video width="320" height="240" controls>
  <source src="movie.mp4" type="video/mp4">
  <source src="movie.ogg" type="video/ogg">
Your browser does not support the video tag.
</video>

A primer on the HTML5 video element here
Since you're streaming the video it's a little more complex, you need to use the media source extension. If you want to look at how streaming works, there's a good guide here


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I want to double the speed of master video clips while retaining the audio's original speed
In the field I accidentally recorded about 80 clips at 50% slo-motion and need to restore the video to normal motion.  Audio is recorded at the proper speed. Is there a way to do this, as a batch, in the media browser, rather than individually in the timeline? If I must do it in the timeline, can multiple clips be fixed at once? and then exported as individual clips back to the media browser?


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FFMpeg -filter_complex to place a video in a window on a larger image with text
I'm trying to work out how to combine both features of the following in one -filter_complex statement in order to take an image, write some text on it, and then do an additive composite of a small video to an area of the image.  Every time I try to combine these two things it doesn't work!
ffmpeg -loop 1 -i mic720x1280.png -vf drawtext="fontfile=Montserrat-Bold.ttf: text='Hello': fontcolor=white: fontsize=44: box=1: boxcolor=black@0.5: boxborderw=10: x=(w-text_w)/2: y=100" -c:v libx264 -t 15 -pix_fmt yuv420p myvid.mp4

-vf "movie=waves5.mp4, scale=500:-1 [inner]; [in][inner] overlay=70:70 [out]"

Edited to change to additive blend.
Use
ffmpeg -loop 1 -i mic720x1280.png -i waves5.mp4 -filter_complex "color=0x000000@0,format=gbrap[bg];[0]format=gbrap,drawtext=fontfile=Montserrat-Bold.ttf: text='Hello': fontcolor=white: fontsize=44: box=1: boxcolor=black@0.5: boxborderw=10: x=(w-text_w)/2: y=100,setsar=1[img];[bg][img]scale2ref[bg][img];[bg]setsar=1[bg];[1]scale=500:-1,format=gbrap[vid];[bg][vid]overlay=70:70:format=rgb[vidbl];[vidbl][img]blend=all_mode=addition" -c:v libx264 -t 15 -pix_fmt yuv420p myvid.mp4

Hi, thankyou so much, this is fantastic, however finally how do I make the last [img][vid] an  additive composite blend rather than a plain overlay?

(thanks for your wonderful help though :) )


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Curriculum for Cinematography
I realise that a lot of things can be learned on your own without attending a course. I went to university and the majority of the things taught can be self-learnt - even engineering. The only issue is that you have no idea where to start and where to get the best resources.
Are there any textbooks or online video sets that teaches cinematography well? By cinematography I mean less about scripts/acting, and more about the visual and the auditory feel.
The videos on YouTube are not very consistent (even large channels) - most are either too amateurish, factually wrong or trying to push you a certain product. The difference is stark when you compare YouTube 'cinematic videos' with filmmakers (even indie ones). I'm pretty sure that there are hidden gems on YouTube but it's not easy to find. My point is that I want to learn from the professionals instead of amateurs.

Read American Cinematographer.
Check out this famous series of “master classes” KODAK Cinematography
Master Class. In this previously linked excerpt, it's John Seale who takes a bunch of students
through a scene from the film “Dead Poet Society”. And here you have
other bits from the same series.
What you get is professional
film cinematographers working on set or in a studio with
students to solve lighting issues. It may be too advanced for you (I
don't know what you know), but this is the sort of work that happens
all the time on sets ... although only in the head of the DPs (or in
pre-production meetings when the script, the characters
and their motivation are discussed).
And, I just found out, after a quick search, that the series is still ongoing!. Do yourself a huge favor and start watching it -- the old and the recent stuff.
Kodak, the old film stock company, still has some good stuff for students and budding cinematographers available on their website. Check this page out: it's a bunch of informative PDF etc. on cinematography, like how to read a slate, workflow, filters, etc. There's a lot it seems.
Work on film sets, and see how they light things. Ask questions. Take
notes. And then shoot your own stuff (short documentaries, short films), with/about your friends, family,
whatever. Take photos, digital and traditional, always on manual (learn to use light-meters).
Shoot black and white and then color, which is harder.
Also, it's not (ever) about the gear you use, but about your eye,
your taste, understanding color and light and framing in relations to scripts
(and experience on sets).
Watch the best lit films ever made, the small ones and the big ones
(mainly the small ones 'cause they have no budget to light things).
Look at classical paintings and ask yourself: where's the light
coming from? Why is it lighting this part of the frame and not this?
What is it saying? What's the story?
Finally, keep at it. Make connections. Show up early and leave late.
Make connections. Smile and work hard. Keep at it. Becoming part of a community of filmmakers is absolutely vital. If one doesn't exist where you live, create it.

And I say all this with an MFA degree from one of the best film schools in the US.

I started off by watching a lot of self-proclaimed filmmaker-vloggers online and I realise it stunted my growth quite significantly. Just wanted insight from someone who is actually in the industry - who would you recommend?

Yeah, you wanna go for the top people: setting up a camera and talking about three point lighting is not going to get you very far after a while. There is some good stuff on utube though. I've edited my long answer for reflect that.

Don't overlook paid sites, I formerly used Lynda.com, purchased by LinkedIn a few years back, and they have pro grade video & photography courses.  Keep in mind that framing, composition, and lighting are the same for both photo and video.


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ffmpeg - How to crop Harry Potter moving newspaper style video?
The Harry Potter moving newspaper is like a video overlay on a static background. Here is an example:

. the video starting from 1min, 17sec.
HOWTO crop only the video part?
I have an image to show what i mean by the moving newspaper and what area does the video locate and what is the static background part. Please refer to the image. The area I draw by pink is where i mean by real video and any area except the video, is the static part.

I understand if the frame size of the video does not change, I can specify the w, h, x, y to crop. But what if the frame size changes? Is there a way to autodetect the static part and only crop the real video part? like ffmpeg cropdetect for letterboxing.
I tried cropdetect but failed.
Any suggestion is welcome and I prefer using ffmpeg but any other softwares are welcome!


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How do you keep clothes clean during action sequences?
Not sure if this is the right StackExchange for this, but I don't see a more general film making SE so here goes...
I'm acting in a short spy film, and in two separate scenes I'm going to be hitting the ground in a suit.
We already shot the final shootout scene, but might need to do a reshoot.
The problem is, the sets aren't very clean. One is a restaurant and the other is a parking garage... during the shootout I ended up with dust and "something" all over my suit.
So, the question is... how can I keep that from happening so I'll look consistent between different takes? (And so my suit doesn't get stained...)
I tried putting down some a large clear plastic bag the other day, but it was too visible on camera...


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Save export settings in Media Encoder
I have an hour+ project in Premiere Pro that is a live performance of a musical group.  I've broken it up via Markers into 15 songs.  I then, mostly with a lot of "by hand", exported the 15 songs to Media Encoder and it produced 15 videos.  The catch is, the project is "mostly" done but I will likely want to go back and tweak things here and there.
Is there a way to save the 15 export settings as a single unit?  They are all exactly the same except for the in and out points and the output file name.  Or... perhaps there is some type of automation that I can use with Media Encoder so I can have an external "script" that would fire up the exports.
If I right click on one of the jobs in the queue (that has completed), "Export Settings" is disabled.  Perhaps that is what I'm looking for?
Really, utopia would be if I could select a marker and say "Export" and it would pick up the title from the marker as well as the in and out points (i.e. the work area).

No there isn't.
You could nest each section from your master timeline into it's own timeline, from the in and out points of where your start marker to your next would be.
That is the only thing I could think of. You could still work off the master timeline provided you dont do any time shifts / move any content up or down the timeline.
Then you could batch out the sequences to AME and apply the pre-set to all of them at once for export.

"nest" ... that sounds interesting.  I will look into how to nest time lines given the state I'm already in.  Indeed, I was somewhat wondering how I was going to create the final end to end video and making it a sequence of the smaller sequences seems like a good approach.  Any pointers on how to nest things given I've already done a lot of work would be awesome.

Late to reply. But to best a sequence in PPro or a Composition in AE simply either drag the sequence/composition from your Project Panel into a different sequence/composition or right click the sequence and “Create New Sequence/Composition from Clip”

Unless I am mistaken, I believe what you are looking for is the presets. You can adjust all of the settings to be exactly how you want them, then click on the 'Save Preset' button located here:

Then when you are in the Queue, you can select as many exports as you want and update the Preset dropdown and all of them will be exaclty as you wish.


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FFMPEG - How to add watermark picture in 2 videos overlayed
I created a conference with 2 participants and both are recorded. After conference, I run FFMPEG to merge videos and creates the output.mp4.
It synchronizes the time, also.
I have a command that works fine:

ffmpeg -i video1.mp4 -i vide2.mp4 -f lavfi -t 0.1 -i anullsrc -filter_complex "[0]scale=iw/3:ih/3 [pip]; [1][pip] overlay=5:5;[0:v]pad=iw*2:ih[int];[int][1:v]overlay=W/2:2[vid];[0:a][1:a]amerge[a]" -map [vid] -map "[a]" -ac 2 -strict -2 -c:v libx264 -y -crf 23 -preset veryfast output.mp4

I need to add two legends:
1 - Date and time at top center of the screen at all time of the video;
2 - Partipants name at bottom of the video.
I can create a file with this information before merging it.
Need a complete FFMPEG command line to have this.
Thanks

Is the command intended to produce 2 video streams for output?

Two input videos (conference) merged to output one video. I want the outputed video to have watermark ans legends (caption) with above informations, Thanks


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Changing DASH Parameters in FFmpeg on the fly?
I am using FFmpeg to create MPEG dash segments from my camera and playing it using Shaka Player. But I want to change the segment size (For example 2 seconds to 1 second) without creating a new process and without exiting the current process. Is there a change to change the parameter value in FFmpeg on the fly?
ffmpeg -f avfoundation -video_size 1280x720  -rtbufsize 100M  -r 30  -i 0 -qscale 100 -g 1 -vcodec libx264 seg_duration 1 -f dash -use_timeline 0 -use_template 0 -single_file 0 ffmpeg.mpd

This is the command where I want to change the segment_duration to 2, without exiting the current process.
ie.
ffmpeg -f avfoundation -video_size 1280x720  -rtbufsize 100M  -r 30  -i 0 -qscale 100 -g 1 -vcodec libx264 -seg_duration 2 -f dash -use_timeline 0 -use_template 0 -single_file 0 ffmpeg.mpd

Or is there any other MPEG DASH Encoder for this use case?

Ffmpeg does not have that feature.

Is there any other way to change this on the fly, like changing the key frame interval or gop? Or this there any mpeg dash encoder to do this? I am doing live streaming.


text:
Processing different sections of video frames with FFMPEG
I'm trying to process frames of video in FFMPEG; while processing, I'll crop and resize various areas of the frames in separate streams so that I can perform specific processing.
I've done something similar (as outlined on Super User) in FFMPEG, but as I expand the requirements, I need a different approach.
To recap:
I'm doing something like this:
ffmpeg \
    -i <input> \
    -filter_complex \
        split=2[in1][in2];[in1]<some filter>[out1];[in2]<some other filter>[out2]; \
       [out1][out2]interleave,setpts=N/25/TB[out] \
    -map [out] -r 25 -codec png -f image2pipe pipe:1

Namely:

Get an input from a URL (it will never be loaded from disk, always from a URL)
Split multiple streams (the example here has two)
For each stream, apply a series of filters to crop, scale, and perform other operations
Interleave the streams, so that I can tell which stream is which in the output, which is piped (and read from STDOUT in my application) as a series of PNG images

The reason the above works is that the stream's outputs are both the same size.
However, I find myself now wanting to process a third stream from the original input of a different size, which is causing a problem, as FFMPEG doesn't know how to handle the mismatch in frame sizes.
One option I've considered is not interlacing and supplying a black video frame to use as a delimiter between different streams.  I can pick up this video frame (it will be distinct from all others) easily within my application.
While I'm sure I can get this to work, the issue is that I would like to be able to process video on-the-fly with this at some point, and the above won't work for that scenario, as we'd have to wait for the first stream to finish, then the second, etc. etc.
I've considered trying trying to stamp the PNGs with a piece of data, but there doesn't seem to be a way of doing that
Note, I don't necessarily have to interlace the streams; as long as I can tell them apart when processing the PNG frames, that's fine.
Is there a way to do this?

FFmpeg cannot handle frames of different sizes within the same stream. They have to be separate streams. If your app can read from named pipes, that's the easiest way out. Do mkfifo for each distinct sequence, and write to those.


text:
ffmpeg Optimizing minterpolate at lower fps
I have 50 hand-drawn frames, an animation. They were setup to be played back at 24 fps. I don't need to worry about any pre-existing audio sync.
I wanted to turn these frames into a video segment that would extend the playback of these frames over a longer period of time at a framerate of 24 fps. Using a generic speed control of 0.25x to slow down playback over a longer number of frames created a laggy experience since it just copied each existing frame 4x. This was the ideal extension length though (making 50 frames into 200).
So I thought to use an interpolation tool, ffmpeg's minterpolate to build inbetween motion on the inbetween 150 duplicate frames.
I exported my original 50 frames as 16 bit png. My intent is to apply the ffmpeg operations to the png and create a segment of 200 png/frames with the desired changes so they can be played back at 24 fps as smooth as possible.
So far I've been using the command
ffmpeg -start_number 1 -i %d.png -vf minterpolate=fps=96:mi_mode=mci:me_mode=bidir:mc_mode=obmc:me=ds:vsbmc=1 -pix_fmt rgb48be C:\User\interpolated\%d.png

I thought to set the fps to 96, since that's 4x the intended 24fps.
This produced subpar results though, and I wanted to know how I can improve the command for the situation.
Also I'm getting confused if it would be better to create the inbetween frames and then feed them into the minterpolate (i.e. make the input the 200 frames), or have the interpolate create them the extra 150 frames from scratch or if I should be specifying a speed control in the command above.
Constraints: the fps playback must be 24fps; I'll need to create a minimum of 100 frames although like I said 200, or even more, is ideal.

This works for me (I use it a lot):
ffmpeg -i [inputfile] -r 24 -vf "minterpolate=fps=96,setpts=N/(24*TB)" [outputfile]

What I would do is see how well the command works on its own and then manually fix any artifacts you don't like.


text:
How to change start time using ffmpeg?
I am recording a live stream to .ts file. But when I run this file through ffmpeg using
ffmpeg -i myRecordedFile.ts

it gives me wrong start time which is way out of the range. For example, my file's duration is 45 minutes but ffmpeg returns start 18910.272911

Is there a way to change the start value of a video file?

FFmpeg is simply telling you the starting timestamp as parsed from the input. MPEG-TS is a transport stream format, used to convey television broadcasts..etc, having no global header, and can be sliced at ~arbitrary points. There are timestamp packets (PCR) at regular intervals, and ffmpeg is showing you the timestamp of the earliest packet.
If you want your TS to have a start time of 0, you'll have to remux it.
ffmpeg -i myRecordedFile.ts -map 0 -c copy -muxpreload 0 -muxdelay 0 newFile.ts

..but this is unnecessary.

I think ffmpeg will make the starting timestamp 0 even without -map and the mux* options, at least for single audio streams, unless you use -copyts.


text:
Illustrator Import to After Effects
I have an illustrator file with vector paths made up of all strokes. When imported into AE and converted to shape layers, all the strokes turn into filled shapes. I want them to stay as strokes so I can utilize Trim paths. Any Idea about this?

I've had success with
import composition > layer size
Double click comp
Highlight all > Create > Create Shapes from vector layer
Delete the .Ai layers
Tutorial here:

The overlord plugin would help greatly with this workflow:
https://www.battleaxe.co/overlord
It lets you move vectors back and forth between Illustrator and After Effects.


text:
Can't capture video from dshow device. FFmpeg finish immediately resulting empty file
I'm digitizing my old tape recordings from usb dongle. Everything been ok, I digitized several tapes, but I'm abandoned this project for a while and reinstalled windows. Keeping on secondary drive the same ffmpeg binaries and noted .txt file with recording options.
Now I tried to return to work, but in attempts to start recording ffmpeg just finishing immediately:
D:\video>ffmpeg -f dshow -crossbar_video_input_pin_number 2 -video_size 720x576
-rtbufsize 2G -framerate 25 -pixel_format yuyv422 -i video="AVerMedia USB Polari
s Analog Capture":audio="Analog Audio In (AVerMedia C039" -copyts -c:v rawvideo
-c:a pcm_s16le -t 06:00 019.avi
ffmpeg version N-91930-g0caa33c60b Copyright (c) 2000-2018 the FFmpeg developers

  built with gcc 8.2.1 (GCC) 20180813
  configuration: --enable-gpl --enable-version3 --enable-sdl2 --enable-fontconfi
g --enable-gnutls --enable-iconv --enable-libass --enable-libbluray --enable-lib
freetype --enable-libmp3lame --enable-libopencore-amrnb --enable-libopencore-amr
wb --enable-libopenjpeg --enable-libopus --enable-libshine --enable-libsnappy --
enable-libsoxr --enable-libtheora --enable-libtwolame --enable-libvpx --enable-l
ibwavpack --enable-libwebp --enable-libx264 --enable-libx265 --enable-libxml2 --
enable-libzimg --enable-lzma --enable-zlib --enable-gmp --enable-libvidstab --en
able-libvorbis --enable-libvo-amrwbenc --enable-libmysofa --enable-libspeex --en
able-libxvid --enable-libaom --enable-libmfx --enable-amf --enable-ffnvcodec --e
nable-cuvid --enable-d3d11va --enable-nvenc --enable-nvdec --enable-dxva2 --enab
le-avisynth
  libavutil      56. 19.101 / 56. 19.101
  libavcodec     58. 30.100 / 58. 30.100
  libavformat    58. 18.100 / 58. 18.100
  libavdevice    58.  4.103 / 58.  4.103
  libavfilter     7. 29.100 /  7. 29.100
  libswscale      5.  2.100 /  5.  2.100
  libswresample   3.  2.100 /  3.  2.100
  libpostproc    55.  2.100 / 55.  2.100
Guessed Channel Layout for Input Stream #0.1 : stereo
Input #0, dshow, from 'video=AVerMedia USB Polaris Analog Capture:audio=Analog A
udio In (AVerMedia C039':
  Duration: N/A, start: 27907.394000, bitrate: N/A
    Stream #0:0: Video: rawvideo (YUY2 / 0x32595559), yuyv422, 720x576, 25 fps,
25 tbr, 10000k tbn, 10000k tbc
    Stream #0:1: Audio: pcm_s16le, 44100 Hz, stereo, s16, 1411 kb/s
Stream mapping:
  Stream #0:0 -> #0:0 (rawvideo (native) -> rawvideo (native))
  Stream #0:1 -> #0:1 (pcm_s16le (native) -> pcm_s16le (native))
Press [q] to stop, [?] for help
Output #0, avi, to '019.avi':
  Metadata:
    ISFT            : Lavf58.18.100
    Stream #0:0: Video: rawvideo (YUY2 / 0x32595559), yuyv422, 720x576, q=2-31,
165888 kb/s, 25 fps, 25 tbn, 25 tbc
    Metadata:
      encoder         : Lavc58.30.100 rawvideo
    Stream #0:1: Audio: pcm_s16le ([1][0][0][0] / 0x0001), 44100 Hz, stereo, s16
, 1411 kb/s
    Metadata:
      encoder         : Lavc58.30.100 pcm_s16le
frame=    0 fps=0.0 q=0.0 size=      10kB time=07:45:07.80 bitrate=   0.0kbits/s
frame=    0 fps=0.0 q=0.0 Lsize=      96kB time=07:45:07.80 bitrate=   0.0kbits/
s speed=4.09e+04x
video:0kB audio:86kB subtitle:0kB other streams:0kB global headers:0kB muxing ov
erhead: 11.267573%

D:\video>

But ffplay playing stream properly and I can watch it
D:\video>ffplay -hide_banner -f dshow -crossbar_video_input_pin_number 2 -video_
size 720x576 -rtbufsize 2G -framerate 25 -pixel_format yuyv422 -i video="AVerMed
ia USB Polaris Analog Capture":audio="Analog Audio In (AVerMedia C039"
Input #0, dshow, from 'video=AVerMedia USB Polaris Analog Capture:audio=Analog A
udio In (AVerMedia C039':
  Duration: N/A, start: 27057.813000, bitrate: N/A
    Stream #0:0: Video: rawvideo (YUY2 / 0x32595559), yuyv422, 720x576, 25 fps,
25 tbr, 10000k tbn, 10000k tbc
    Stream #0:1: Audio: pcm_s16le, 44100 Hz, 2 channels, s16, 1411 kb/s
27060.50 A-V:  0.010 fd=   0 aq=    0KB vq=12961KB sq=    0B f=0/0

I'm stuck and have no idea what can it be. Please help.
P.S. Sorry for my bad english.

Either remove the -copyts or switch -t 06:00 to -vframes 9000

Thank you, removing -copyts parameter worked for me!

What should I do when someone answers my question?

This command line work for me:
ffplay -f dshow -video_size 720x480 -framerate 29.97 -i video="Conexant Polaris Video Capture":audio="Conexant Polaris Video Capture"

before testing any command line, identify the name of your capture card in the operating system with the line below:
ffmpeg -list_devices true -f dshow -i dummy

after that, see what resolutions are supported and the frame rate:
ffmpeg -f dshow -list_options true -i video="Conexant Polaris Video Capture"

When listing the capture options for my card, I realized that when it uses 29.97 frame rate it doesn't support 720x576 resolution, but 720x480.


text:
FFmpeg with OpenCL support - Ubuntu 18.04
Recently I asked about GPU acceleration in FFmpeg using AMD Radeon (AMD support for ffmpeg? Can't get my dedicated GPU to work). After many tests I see that fighting with this topic is hard, especially if I read something like that: Feature support varies – for more complex codecs with many different profiles, hardware decoders rarely implement all of them (for example, hardware decoders tend not to implement anything beyond YUV 4:2:0 at 8-bit depth for H.264) (https://trac.ffmpeg.org/wiki/HWAccelIntro).
But maybe I just started with wrong solution? Maybe OpenCL is what I need? So I'd like to ask if someone could help me with OpenCL. I installed it on my OS (Kubuntu 18.04.2 LTS) and confirmed it works. I used tips and examples found here: https://wiki.tiker.net/OpenCLHowTo
I also installed FFmpeg with OpenCL support from Snapcraft (https://snapcraft.io/ffmpeg):
ffmpeg version n4.1 Copyright (c) 2000-2018 the FFmpeg developers
built with gcc 5.4.0 (Ubuntu 5.4.0-6ubuntu1~16.04.10) 20160609
configuration: --prefix= --prefix=/usr --disable-debug --disable-doc --disable-static --enable-avisynth --enable-cuda --enable-cuvid --enable-libdrm --enable-ffplay --enable-gpl --enable-libass --enable-libfdk-aac --enable-libfontconfig --enable-libfreetype --enable-libmp3lame --enable-libopencore_amrnb --enable-libopencore_amrwb --enable-libopus --enable-libpulse --enable-sdl2 --enable-libspeex --enable-libtheora --enable-libtwolame --enable-libv4l2 --enable-libvorbis --enable-libvpx --enable-libx264 --enable-libx265 --enable-libxcb --enable-libxvid --enable-nonfree --enable-nvenc --enable-omx --enable-openal --enable-opencl --enable-runtime-cpudetect --enable-shared --enable-vaapi --enable-vdpau --enable-version3 --enable-xlib

I use FFmpeg mainly to convert images sequences to movies - thousands of images in 2K-4K resolution. I call it usually like this:
ffmpeg -framerate 30 -i frame-%05d.png -preset ultrafast -tune film -c:v h264 -c:v libx264 -b:v 20M -pix_fmt yuv420p output.mp4

My question is (quite) simple: how can I "translate" above to FFmpeg+OpenCL language? I'm using integrated Intel HD Graphics 4600 and external AMD Radeon HD 8790M. Nevermind which device will be used, I'd like to check if OpenCL will help me to reduce time of encoding.
Could someone help me?

OpenCL is not what you need.
In https://trac.ffmpeg.org/wiki/HWAccelIntro, see the section on “FFmpeg API Implementation Status” — Notice that OpenCL is not applicable for encoding and decoding, only for use in filters.
That's because OpenCL is a low level API used for writing code in such a way that it can be accelerated by GPUs or CPU SIMD instructions depending on the platform/driver. It is used in FFmpeg to implement various filters, but you aren't using any filters. If you really want to use OpenCL for encoding/decoding, you will have to start writing your own encoder/decoder first.
For your use case (encoding a video from source frames), you are better off using an API specifically designed for video encoding. These use the separate special purpose video encoding/decoding functionality found on most modern GPUs (including integrated GPUs). The best choice depends on your platform and use case, but for example this page has some examples for using VAAPI: https://trac.ffmpeg.org/wiki/Hardware/VAAPI. Usually this means selecting a different encoder, for example h264_vaapi instead of x264 (which is a purely CPU-based encoder). To ensure good performance, avoid copying frames between host/CPU memory and device/GPU memory as much as possible.

Manyh thanks for in-depth explanation with links! It clarifies many things for me. And sorry for late reply, I missed it before...


text:
FCP loses second audio track on import
I have mp4 files with two stereo audio tracks, one with voice, and the other with game sounds. Unfortunately, when I import into Final Cut Pro, and then expand audio components, I only get the first (voice) track. Everything I can find claims that I should be seeing both tracks. What am I doing wrong here? Is there an import switch not set properly?

Make sure to activate “Separate mono and group stereo audio “ and deactivate “Remove silent channels” in the import window.
Maybe consider to check the files with VLC or Audacity to make sure both channels are present. You could export just the audio tracks and import them separately as well.


text:
Adobe Media Encoder render videos with fixed file size
I often need to send people the raw material with mail, Whats App or other size-limiting services.
Adobe Media Encoder can limit the file size with Max Bitrate, but if I have a que with 100 videos, I don't want to calculate the max bitrate for every single video.
Is there a way to set a maximum file size for multiple videos so that AME calculates the max bitrate automatically?
Thanks.

I don't think that's possible with AME. You could use a command-line tool like ffmpeg to do it.

@stib How would do you that exactly?

Well you can select every output option for each file, selecting the first and holding shift, then clicking the last one. That way, you can change the max filesize for each file. For example, when you have a max of 12gb and must encode 173 files, the max file-size must be roughly 12000/173 mb for each one. You'd only have to calculate that once, alternatively, if you don't even want to do that, you could jam all your timelines in a new one, which you could then limit in filesize. Wouldn't recommend that though, as you'd have to slice them after rendering to get seperate files again.

I don't have a max size for all, but rathee for each single video

Actually, I think that Media Encoder can't do it native.
I know, that After Codecs has function to render with certain filesize. This size won't be certain, but will be very approx. Also you will need to consider correct resolution for your files to leave your videos with enough good quality.

Also you can export your files from Media Encoder and then reencode with any converter, that support file size limit.
For example ffmpeg:
ffmpeg -i input.mp4 -fs 10M output.mp4

For a lot of files you can create BASH or BATCH script, depends on your OS.
You can read this article to understand, how to encode files with two-pass reenconding and reach certain filesize.


text:
How to add subtitles below video
I have a video for which I want to a add subtitle strip below the original video. Like adding this new strip to the video to avoid affect the video that already has harcoded subtitles.
Which tool can I use to do this?
If open source, better.
Thanks in advance

ffmpeg https://ffmpeg.org, aegisubs http://www.aegisub.org/ also, doing a search on https://videoproduction.stackexchange.com

@stib Thanks for your answer. I'm not sure if could be a duplicate with the other post you mention. I want a separate new full width rectangular section below the original video as target to show the subtitles in order to maintain without any other text the original video area. I hope make sense.


text:
Moviepy - capture time on-click
I'm trying to capture the time of a mouse click on a video clip. I see 'time, position, color' events in the console, but I want to catch the times of clicks in my script - to allow me to save clips based on user interaction.
All and any help appreciated.


text:
How to convert a sequence of images to a video with different number of digits in the names?
I'd like to turn a sequence of images into a video using FFMPEG. They are numbered but with different "digits". Eg:
a0001.jpg

a0002.jpg

a0003.jpg

.

.

.

a654321.jpg

a654322.jpg

a654323.jpg

The first part consists of 4 digits but due to a very large number of images (more than a million). The number of digits can be up to 6.
after reading this wiki article, the following code didn't work:

ffmpeg -framerate 24 -i a%d.jpg video.webm

Error msg:

Could find no file with path 'a%d.jpg' and index in the range 0-4
  a%d.jpg: No such file or directory

Version:
ffmpeg version N-92899-g1dcb5b7dca Copyright (c) 2000-2019 the FFmpeg developers
  built with gcc 8.2.1 (GCC) 20181201
  configuration: --enable-gpl --enable-version3 --enable-sdl2 --enable-fontconfig --enable-gnutls --enable-iconv --enable-libass --enable-libbluray --enable-libfreetype --enable-libmp3lame --enable-libopencore-amrnb --enable-libopencore-amrwb --enable-libopenjpeg --enable-libopus --enable-libshine --enable-libsnappy --enable-libsoxr --enable-libtheora --enable-libtwolame --enable-libvpx --enable-libwavpack --enable-libwebp --enable-libx264 --enable-libx265 --enable-libxml2 --enable-libzimg --enable-lzma --enable-zlib --enable-gmp --enable-libvidstab --enable-libvorbis --enable-libvo-amrwbenc --enable-libmysofa --enable-libspeex --enable-libxvid --enable-libaom --enable-libmfx --enable-amf --enable-ffnvcodec --enable-cuvid --enable-d3d11va --enable-nvenc --enable-nvdec --enable-dxva2 --enable-avisynth --enable-libopenmpt
  libavutil      56. 25.100 / 56. 25.100
  libavcodec     58. 43.100 / 58. 43.100
  libavformat    58. 25.100 / 58. 25.100
  libavdevice    58.  6.101 / 58.  6.101
  libavfilter     7. 46.101 /  7. 46.101
  libswscale      5.  4.100 /  5.  4.100
  libswresample   3.  4.100 /  3.  4.100
  libpostproc    55.  4.100 / 55.  4.100

Windows 10

Under Linux I use such command:
ffmpeg -f image2 -pattern_type glob -framerate 30 -i *.jpg output.mp4

Of course you should add encoder options etc. Or you can add leading 0's (zeros) to filenames, eg.: a000123.jpg instead of a123.jpg. Then -i a%06d.jpg should work.

Thank you so much, I'll try this some time later and I'll get back to you


text:
Old VCR Scanline Spash Screen effect (Bladerunner Ladd Company logo)
So I was wondering whether anyone has any idea whatsoever how to achieve this particular effect? I'm knowledgable primarily in Photoshop and Illustrator but there must be an easier way to achieve this 'building out of lines' - effect as I would name it?
Related material:
Actual effect - "Scanline Splashscreen"

welcome to video.stackexchange
Try something like this:
Make the tree and line as a black image with a white background.

Pre comp your tree and line to make a single comp.
Make a green solid layer and put it beneath your tree comp.
Make the tree comp invisible for now.
Apply a Venetian Blind (or Grid Wipe) effect to the green solid layer, in order to get the small horizontal scan lines.  Don't keyframe it - the objective is just a tree made of thin lines.

Use a Track Matte on the green solid layer to reveal the shape of the tree layer above. Set it to Luma Inverted Matte.
Now you need to make the big blocks step in across the tree shape.
Make a new comp, and put a copy of your tree shape in here as a guide layer.
Set its opacity to 30% so you can still see it, but you can see everything else you're going to add.
Now we add some blocks:
To do this, I would use text squares (eg this unicode symbol █ ) repeated in the correct shape around the tree, then animated using the Typewriter effect.
Do one set of these for the left to right blocks only, leaving a space for the right to left blocks.
Duplicate your "left to right" blocks layer, and scale its x-axis by -100
Make the two sets of blocks different colours so you can see what's going on.
Adjust the keyframes on the typewriter effect until they come in at the right rate.

Put your comp into your main comp (I called it "line draw ins") and make it invisible.
Go to the layer with your green scanline tree in it, and apply a Set Matte effect to it.
In the Set Matte effect, in the "Take Matte from Layer" setting choose your "line draw ins" layer.  This is using your typewriter blocks as a matte (like the track matte we did earlier but can be anywhere in your comp).
Add in your text layer in the right colour
set some opacity key frames on it
then add an adjustment layer to make it look glowy and noisy, in whatever what your want to... (there are many tutorials on how to make things look like VHS videos).  I put a glow and a channel blur on the adjustment layer.

Video example below:

https://vimeo.com/332475491

Updated this answer to make it clearer that I pasted multiple copies of the unicode symbol "full block" █ into the text box over and over to create the matte - sorry if it wasn't clear


text:
How to determine audio full LCID language identifier from a video file?
I've successfully created a video with 3 language audio tracks (English, French, Spanish). When playing back in a video player that recognizes the languages, I can correctly switch between these tracks.
For each language, there is an LCID (Language Code Identifier) embedded in the video file. I know they're there, but can't see the detailed LCID. The format should be similar to this: "es-MX" for Spanish-Mexico. But I only know the first part ("es" in this case) and can't confirm the second part ("MX").
I have both .mov and .wmv versions of the video file. Is there some way to examine the video files and see the full LCID? I.E, I'd like to be able to see "en-US", "fr-FR" and "es-MX" or whatever they are set to.
Thanks ... John

mediainfo https://mediaarea.net/en/MediaInfo maybe ?

@audionuma - Thanks; that's a cool tool! I was able to see most of the information I was looking for by using it.


text:
Removing background for YouTube video
I would like to remove the background completely in a video I want to record for YouTube, because I don't want others to see my messy house or where I am because it would just look too bad. What tools do I need to accomplish this task, in terms of hardware and OSk requirements on Windows and software, and is it easy do this?
Thanks.

Easiest way is to use a greenscreen. This can be done with household items, but will be a lot easier with equipment of about 150$.
You hang a green cloth behind you, light it up good and evenly.
Then in an editing/streaimng software you simply use the Grenn Screen/Key/Chroma Key tool.
There are cameras which can do it too, but those are expansive and don't work as well.


text:
How do I create a solid black background in Premiere?
I want to create a solid color "video" segment in my overall video. In iMovie I can add it by importing a background. I don't see any such feature in Premiere Pro.
How do I add a black (or other color) solid color background to my timeline?

In the workspaces panel, right-click the background and choose New Item > Color Matte...
You can then select any color you want.

See Easily Create a Solid Color Background in Premier Pro 2019 for more details.

From the same menu, there is also the option of "Black Video" which does the job instantly.


text:
Speeding up or slowing down a clip introduces metallic noise when adjusting for pitch
I'm slowing down some audio. I chose to "Maintain Audio Pitch" because I don't want it to sound like a very deep voice. However, when I play back the audio, it sounds like it's going through a metal filter.
Is there a better way to change the duration of a clip and have it sound more natural?

Most of the time you should not rely on the automatic Maintain Audio Pitch setting because it causes the audio to be distorted (both when speeding up and slowing down).
Instead, leave that checkbox unchecked, and add one of these filters instead:

Pitch Shifter (Obsolete)
AUPitch

And play around with the settings until it sounds better.
See SPEED UP Video with No Audio DISTORTION in Premiere Pro for more info.


text:
Why Doesn't Compound Clip With Effect in One Project Still Have Effect When Placed in Another Project?
In project A I have grouped a number of clips into a compound clip called c1. While in project A I've added to the compound clip (e.g. so it affects the entire compound clip) a color board effect and some transformation adjustments.
Then when I go into project B and insert compound clip c1 it does not have the effect or transformation adjustments.
Is there a way for the adjustments I've made in project A to transfer over to project B? I have something like 200 compound clips along these lines that need to get reassembled in another project, and I don't want to lose all those adjustments.
Finally, is there anything else that doesn't transfer over I should be aware of?

Is project B in the same library?

Yes, all of this is in the same library.

It looks like you duplicated your project as a snapshot. Taking a snapshot of a project will duplicate the whole project but also a separate copy of the compound clips within a project. This way you can change anything on a compound clip in Project A, and it won't effect project B.
Here is a quote from the docs:

When you duplicate a project as a snapshot, Final Cut Pro embeds copies of compound or multicam “parent” clips in the snapshot, so any changes to other instances of those clips do not affect the snapshot.


text:
Ffmpeg recording with gdigrab will drop frame
I write a code to use gdigrab to capture screen and use dshow to capture audio.
But no matter how I set the frame rate to gdigrab, the acquisition frame rate is 10 frames.
I thought maybe my computer equipments influenced the acquisition frame rate.
Here are the information of computer equipments:
windows 7
1.CPU :Intel(R) Core(TM)2 Duo CPU  E8400 @ 3.00GHz 3.00GHz
2.RAM :4.00GB (3.48GB available)
3.Screen resolution ：1680*1050
4.adapter information ：Intel(R) 4 Series Express Chipset Family
5.Screen refresh frequency ：60HZ
I don't know which is the culprits.Is there any way to detect the highest acquisition frame rate by writing a code.
I really appreciate your help!


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Does anyone know why my lights aren't working at all in 4D cinema?
Imported from Vectorworks - I've switched on all lights, adjusted the brightness and nothing seems to be working.
I also have LED screens and they don't seem to be working either]1

Hi, not a c4d expert, but I'd recommend posting a screenshot of your failed render - saying which version of c4d you're using, and a screen grab of your render settings.


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Where do you charge your batteries?
I'm travelling to shoot a documentary in a remote pacific island without any electricity.
How do you charge your batteries in such conditions ? I have never used a generator and I'm afraid of the noise level. So I was wondering if there is a better solutions for such shooting conditions.
Thanks

What type and size battery? How many? How quickly do you need them recharged?

Whatever batteries you are in need of charging (travel with as many spares as you can afford), you are going to have to use the generator(s). Why? There's not other option, as there's no electricity. The situation is not ideal, but it's what it is. As for generators, usually people don't set them up right under their windows, but a bit away and even sometimes in small hut-like structures. So don't worry about the noise.

If there's no electricity and you're not keen on using a generator, this is your solution: a DIY battery solar charger


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How to animate? Dripping/melting shape
I wish to animate this logo. As first the rectangles appear (already figure out with shape masks and track matte) But then I want to make the "paint" drip off it and I can't figure out what method I should use. Im a newb at after effects and I mostly learn from tutorials but I can't find anything specific enough to help me. Please give me advice I witch direction should I look.

Animated shape layer would be my first choice. Draw the final shape of the dripping paint, turn on animation for that shape at the end, wind back to the beginning and edit the shape until it looks like how you want it to start, then preview the animation and tweak any intermediate frames as necessary.
TL;DR: animate it.


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Create Text Graphics with Flat-Style Padded Background Boxes
I'm using Premiere. Was wondering the best way (base application or if there's a good recommended plugin) to get this style text graphic:
https://twitter.com/CNET/status/1122999001119318017
(0:10 in video)
Where the flat background boxes can be set with a certain amount of padding, and automatically expand according to the length of the text.
Thanks!

I assume you're trying to create this, from the video you linked above:

If you want to create a title template that can adjust to (almost) whatever words you type in it, you're going to have to use After Effects.
In Premiere, you can create title templates, but they're not going to adjust to whatever length of word you use.
The following link takes you to a video that offers a good run-down of the latest title tools in Premiere, with which you can create templates that look like what you have in mind -- by the way, you could achieve a similar look with the old Title Tool: create a black matte, give it an opacity of, say, 30%, and place it under your title words.

(you could get someone who has after effects to make it for you, and add it into your premiere project)


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How do I make a new clip from in & out points on my sequence in Premiere Pro CC?
When I'm editing a sequence in Premiere Pro CC, I want to be able to create a new sequence from my in & out points on the sequence I'm editing.
What's the simplest way of doing that?

I’ve seen mark clip - X as a way to do this.

create new sequence and treat the "old sequence"  as a normal cips & how you import it from projects bin.
\\ Just like you set In/out points for a normal clip.
or watch

Make sure all the tracks you want to copy are selected in your timeline. (as in select V1, V2, A1, A2 etc).
Mark In and Out points using I and O
Press ; to "lift" them out (copies the tracks into your clipboard and deletes them from your timeline).
Press cmd + Z to undo the delete (the clips will still be in your clipboard).
Press cmd + N to make a new sequence.
Press enter to accept the default sequence settings.
Press cmd + V to paste the clips in to the new sequence.