text:
Adobe premiere cc 2017: Archive (clip) After rendering, gets too long, why?
Adobe premiere cc 2017: Archive (clip)
 After rendering, gets too long, why?
1-I download the file of size 5MB www.youtube.com/watch?v=j648ZWxh5UE of Youtube
2-Import for TIMELINE
3-I do not do anything (no cut, no insert, no effect)
4-Control M
5-Set with the same parameters as the original
6-Command to render.
What is the result? Generates a very large final file, 27MB (changed from 5MB to 27MB)!
Can anyone explain? It should not be a file of the same size as the original, because it was not cut, nor spliced, nor put effect and the same parameters of the original were kept in audio and video.
I am a beginner of ADOBE PREMIERE. Can anybody help me? I would be very grateful. Yes, I really want to thank MoritzLost, he helped me a lot with a previous question. hug

Match same parameters only means to match the image dimension and frame rate. You still need to select an export codec/preset. Which preset did you pick?

First thing, when you want to export it your desired format(for example : H.264 format,H.264 is also known as MPEG-4 AVC. Developed for use in high definition systems such as HDTV, Blu-ray and for low resolution devices) you have to customize the export settings.
The two factors which determine file size are program duration and bitrate.  The longer your program is, the larger the file will be.
But the bitrate is, Choosing Uncompressed will have the highest bitrate possible.  Choosing an MPEG variant (MPEG1, 2 or H.264) will allow you to lower the bitrate (and hence create a smaller file) while still achieving acceptable quality.
Under the export settings you are getting the Preset.You can select a preset the way you want it.But keep in mind choosing the correct Preset with the FPS(Frames per Second).Choosing a lower FPS would reduce the quality of the video.
In this issue it's recommended to use the resolution of the Original video(which is 720p) in the preset.You can change the FPS and check for the quality.Here is how you check the FPS of a video in Premiere Pro.
Choose the exact resolution if you want to get the same file size Under the video tab in the export window.Change the level (which constrains encoding parameters bitrate range and FPS)and you can get the actual file size by changing it.You will see the estimated file size below. This is not recommended as it reduces the quality.
You can customize the export settings same as the original and you will get the file size you mentioned which is 27MB.That's how you got 27MB for the file size.
Note: Codecs do the magic!.


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Is it still meaningful to have 29.97fps under ATSC standard?
According to this video, we use 29.97fps under NTSC standard.
But now we have ATSC standard, do we still need 29.97fps in order to broadcast under ATSC?
Is it still meaningful to have a newly created video with 29.97fps?

The non-integer HD frame rates (interlaced 59.94 and progressive 29.97) exist to facilitate easy downconversion to Standard Definition (SD) that must operate at 29.97. There is no technical reason that the non-integer frame rates must be used in ATSC or other SMPTE 292 systems, just the compatibility reason.

Why must SD delivery be at 29.97? SD delivery is still digital; there's no analog broadcasting to be compatible with.

According to the ITU, there are 19 countries that have not started digital transitions and 63 countries with in progress transitions. Even in countries that have completed the transition, it is very expensive and complicated to switch existing hardware (mostly SDI-based) systems from non-integer to integer frame rates. As facilities are rebuilt and switch to IP (2110), it will be more feasible to eliminate the non-integer frame rates.

How many of those countries are NTSC? At any (frame) rate, it's unfortunate that we're still saddled with this crap.

source: Stack Exchange

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

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

sort: votes


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Is there command line software that syncs two audio tracks
I have a bunch of separately recorded audio and video tracks that I need to sync. By sync (synch?) I mean align the two tracks so that the audio matches as closely as possible. The two tracks are recorded from different mics (a boom mic attached to a sound recorder and the built in crappy mic on a camera), so they're not exactly the same.
I can do it with Resolve or Premiere etc., but using a GUI app is soo tedious. I feel like this is the sort of thing that ffmpeg should be able to do, but I can't find anything.
Are there any command line programs that will sync two clips using their audio?

Any distinctive sounds present - clapper?

That's what http://www.redgiant.com/products/pluraleyes/ does. Not free though.

Not command-line either. I want something I can automate. @Mulvya, no clapper.

@PaulB.Mahol synched by audio. Premier and Resolve and FCP use some sort of algorithm that matches the timing of the two clips by comparing the audio. I would have thought it's the kind of thing that would exist as FOSS.

I'm also interested in this sort of thing.  I usually edit video using https://www.mltframework.org/

There's this, but I don't think it quite does what I want: https://github.com/google/audio-sync-kit

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


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How to add a time stamp using ffmpeg to a screenshot capture of a video
I am trying to output a screenshot of a video at an specified time and the resulting picture should have a black square with the time that was given initially.
So far I was only able to produce a screenshot using vframes from the example at the documentation on ffmpeg page which is this below:
ffmpeg -i input.flv -ss 00:00:14.435 -vframes 1 out.png

But I would like to add a timestamp in the resulting thumbnail or capture of the video which would show that '00:00:14.435' using arial fontface and a black square as background an yellow as fontcolor. Can this be done?.

See here. Skip \:1466507118

I've already tried the method you mentioned but it does generate a sequence of frames and it is not the way how I intend to assess my problem hence i stressed the part of inserting the time in a black frame at the bottom of the screen capture with the specified time.

Use
ffmpeg -start_at_zero -copyts -ss 00:00:14.435 -i input.mp4
    -vf "drawtext=fontfile=/path/to/Arial.ttf:
          fontsize=45:fontcolor=yellow:box=1:boxcolor=black:x=(W-tw)/2:y=H-th-10:
          text='Time\: %{pts\:hms}'"
    -vframes 1 output.png

Can this code be expanded to take a screenshot every X minutes from the video and paste on each one the time elapsed until that point?. I am unable to do this by my own.


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YouTube Upload Gamma Shift
I've just finished a music video in Resolve and exported it as Mov/Prores422HQ. It looks correct when played back in Quicktime and in VLC, however when I upload to YouTube, there is a huge gamma shift and the blacks look washed out.
YouTube on the left, Quicktime on the right:

What can I do to mitigate this gamma shift?

The short answer is to ensure that your output's color encoding is Rec 709 & limited range. Not familiar with Resolve, so don't know where to adjust it. This is not a gamma shift. HD video and sRGB have similar transfer functions (gamma). It's an issue of color range and possibly color primaries. Some players assume the defaults I mention at the top, even if the file is tagged otherwise.

Thanks. Yes I had set my Timeline Colorspace to sRGB.

I managed to get an acceptable result by exporting as Mov/Prores 4444 and a Timeline Colorspace of Rec 709 Gamma 2.2.


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Monitor with touch to focus
I have the Canon 80D and wondering if there is a monitor in the market that has the option to touch to focus that works with the Canon 80D.


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Play 24fps video smoothly on 50Hz monitor
Most of the content that we download or get from media is 24fps. Which can not play smoothly on 60Hz/50Hz monitor as 24 frame can not directly sync with 50/60Hz monitor.
Now my question is it possible to directly play 24fps video smoothly on 50Hz monitor by increasing the speed of video by 1.05x by which it will become 25fps video which can directly sync to 50hz screen. If I'm technically correct what is the best way to accomplished this.

I believe you are technically correct but that in practice it would not be done in that manner.
In other words, if you simply increase the playback speed there will be visual and/or audio artifacts from the speed change.
What you would want to do is use software that would adjust the frames directly, like by dropping every 20th frame.
While I said you are technically correct, I believe your premise is slightly misguided.  Have you noticed any artifacts from playing video on monitors with different frame refresh rates?
Your brain is an amazing tool and can fill in gaps so dropping a few frames wouldn't usually be noticed.  But your brain has a top speed that it can process things like you describe.
24 fps is selected for cinema, as I am sure you know.  Video these days is usually recorded at much higher rates.
But think for a minute about why they chose 24 in the first place.  it is because if the frame rate drops below about 18 or so you can actually see the jumps between frames.  This is partly why interlacing was introduced, so a 30 fps transmission is half-drawn in between frames and the interlacing lets your brain melt one frame into another.
That's why stills from those kinds of programming - like old Betty Boop cartoons - look funny.  It is hard to capture a single frame unless your software is aware of the format.  Simple screen captures are not.
The point of mentioning the 18 fps thing is that above that most people can't see any syncing problems like you describe.
I would suggest you put this kind of question into Google in various ways and find others who have asked similar questions.
Have a great day.


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Get location (X,Y) of motion tracking object?
I just learnt motion tracking in Adobe After Effects and I find it great. I need to track the (X,Y) location of the object that I am tracking. For Example, lets say there's a video of a black dot moving from the top left corner of a screen to the bottom right on a white board. I would like to know it's new location every time it moves. Like a list of (0,100) (1,99) (2,98)..... One Idea is taking a screenshot of the video every second, locating the dot and getting it's location from there. I'm sure that this is tracked in the background of motion tracking. Is anything like this possible?

This is definitely possible! Because you say you're new I'll write this out in detail, you might know some of this already but here goes:
Make a new composition with just your footage, and add a new Null Object (Layer>New>Null Object). Make sure this is just above your footage in the layer stack. It doesn't actually have to be, but if it is then it will simplify a few things.
Motion track your footage and in the motion tracking panel click "Apply" and then just hit "OK" on the dialog that opens up.
Now what happens is your tracking data gets applied to the Null Object (it automatically takes the layer above the footage layer - you can change this of course but no need to in this example).
Select your null object and hit "u" which is the shortcut to show all keyframes. You'll see that there are now position keys on the null object, and those are the coordinates you want already given in X and Y, with the top right corner of the screen at (0,0).
What do you want to do with them from there?
EDIT: Just realized an even simpler method... just motion track your dot, select your footage layer and hit "u". Now you will see a keyframed property called "Feature Center" and this is what you want. Everything in AE has (0,0) in the top left corner.


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Using FFMPEG, how does one manage to find the file to convert?

I've been trying to get FFMPEG to do a conversion of this file because I was bored, but FFMPEG can't seem to find the file, the location tags that I have before the file name were found by dragging and dropping the file into CMD. The other code I'm getting from one of the other boards How do I turn audio into video (that is, show the waveforms in a video)?

If a filename or its folder has spaces or other special characters, you need to enclose it in quotes i.e.
ffmpeg -i "c:\this\file name\and path\has\spaces in it.mp4" ...


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libx264 for ffmpeg on linux
I am running ffmpeg on ubuntu.
I tried to set the codec to libx264 but it was not recognised by ffmmpeg.
Is there a way too install that codec for use by ffmpeg?

If the codec lib isn't linked in your binary, you can get one which does from https://www.johnvansickle.com/ffmpeg/ (get a git build).

It seems that installing the libavcodec-extra package might also solve the OP's issue. (https://packages.ubuntu.com/xenial/libavcodec-extra)

Compile x264 by yourself, then compile ffmpeg with option --enable-libx264


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Is there some sort of macro facility for inserting repeated actions?
I'm new to Final Cut Pro X. I do a lot of shooting with two cameras and sometimes I want to do split screen, and other times I want to show one view or the other. I transition from one view to another or from one view to split screen by inserting keyframes and changing the Transform and Crop values between them. But trying to get the keyframes just right for each change is tedious. Can I create some sort of "macro" when I can just click and insert a change from view 1 to split or the opposite, view 1 to view 2 or the opposite, or view 2 to split or the opposite? I'm not even sure what the terminology is.


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Template - Wedding invitation video
I am trying to create a wedding invitation video (my own wedding, Nov 2017).  I have been searching for wedding invitation video application the online, however I have not been able to find a suitable (Free) option to create a video.
I want to create something like this :
Youtube - Video link
I have found this particular template at multiple video makers (fiverr and others) and Its perfect for what I want to create.
Some of the other places where I found the same video
Example : fiverr - himaljung
I am currently using Camstasia studio for editing, So I wanted to know where can I find a video template like i mentioned and which software can be used to edit it.

What is a "suitable" option for you? What makes that template perfect?

@MichaelLiebman, Free = suitable for me. Its perfect as I like the template.

Using Google Image Search I have found the exact template you were looking for:
http://aedownload.com/wedding-invitation-2533538-project-effects-videohive/
The application you need to use for it is Adobe After Effects CS4, CS5

It has page not found, dead link

The website has closed down since I have posted it, but there are others: http://effect-dl.net/wedding-album-after-effects-template-bluefx/   Use Google Image search if you want to find a similar or the same template


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Smooth Zooming out of a High Resolution Photo
I am trying to start zoomed in a high resolution photo (https://imagizer.imageshack.us/v2/16000x16000q90/924/ky7llJ.png) full of molecules (start with 4x4 mols) then zoom out to the whole picture (consisting of 80x80 mols, 16kx16k pixels).
The problem I am having is that during the zoom out the picture shakes

I've tried frame blending with no avail. Any ideas on how to solve this? Thank you!

weird. Looks like it could be an aliasing thing. Can you use AE?


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HitFilm 2017: What's the difference between project video settings and export video settings?
I am using HitFilm 2017 Express to put together a few clips recorded by an iPhone (1920 x 1080 @ 29.97fps).
I see some video settings in my project tab:

When I export my video, I see even more settings - some of which are duplicated across both:

I understand that my export settings are what I actually get in the rendered file. What confuses me is the project's video settings (first picture). Why do I even have them? How do they relate to and/or affect the final production?

Project settings determine the way your source media will be interpreted (played/processed/pre-rendered) by your NLE application.
Export settings determine the format of the file that you are going to output once the edit is finished.
For example:

You shoot video on a Panasonic HVX camera in Apple ProRes 422 codec
  (HQ). Then you import the clips into your project. The project codec
  will be Apple ProRes 422 (HQ).
You plan to publish the video on youtube. There is no practical sense
  in keeping the quality as high as Apple ProRes for web delivery, so
  you choose to compress the resulting video into H.264 codec inside an
  MP4 container (listed as Youtube 1080pHD) to make it easier to upload,
  without significantly sacrificing its quality.

I kind of had an intuition that resembles what you said. But still, I am confused. First, you just said the project settings determine how my media is "processed". Shouldn't HitFilm simply be smart enough to recognize each imported media's format and "process" them natively without my interference? I see no reason why a video editor would want to reduce the quality going "into" the app. Secondly, what happens if I mix different input qualities in all the different media files I import?

HitFilm is smart enough to recognise the format of media files you import and can later change your sequence settings to match them when you do that. So you can actually skip the template selection. The video editor would want to reduce quality of video going into the app, if his computer was too slow to allow playback and rendering in the source format (i.e. you have shot a lot of video in camera RAW format). But that's not your case, so nothing is reducing the quality (your template selection is not doing any video conversion).

You can learn more about Editing vs. Delivery formats here: http://telestreamblog.telestream.net/2012/04/save-yourself-frustration-use-editing-formats-when-editing-2/ This will make it clear why there is a distinction between Project and Export settings. In short: you don't have to edit in the same quality you are delivering in


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Improving speed for aerender.exe (Adobe After effects CC 2017)
I'm working on a project that should render as many videos as possible.
Only 3 images in the project change after every render.
The output length is 12 seconds and it takes about 90 seconds to render the video.
After Effects is running on a Windows 10 device with 64gb ram, a GTX 1060 videocard, a i7 processor and a Samsung 960 EVO 500GB SSD.
When rendering a video the SSD and CPU usages go to 100%.
Are there ways to speed up this small renders even more?

I would try using a seperate ssd for your project files and assets. You'd have one for your os and software and one for the project.

Are there some non-hardware fixes that will improve the speed of aerender?

I have been able to at least 10x render times in AE (depending on hardware) by rendering to image sequences and running multiple instances of AE on one machine. Because AE is so inefficient at using your resources you can get away with this in direct proportion to your hardware. I don't have a good rule of thumb for how many instances to run at a time but generally push it until your RAM maxes out (I have 64g and 40 CPU cores, so I run 10 at a time with no problems at all).
You mention aerender.exe so I assume you are already rendering via the commandline? If so then you're 90% there. All you have to do is set your composition output to an image sequence format (I use .png) and then change your Render Settings from "Best Settings" to "Multi-Machine Settings". This will just enable an option in the Render Settings called "Skip existing files."
I realize this might not be the answer you were looking for in that it doesn't directly speed up aerender.exe however it is absolutely the best way of decreasing render time! Since I found out about this one I've never gone back. I then use ffmpeg to convert the image sequences to video files, but you could always use Adobe Media Encoder or something like that.


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Upgrading Graphics Card for Video Rendering
I currently have a GTX970 4GB card that I use in my video rig. I can edit and render and every works fine. I do video production for longer events. So a rendered video might be 2 hours long.
I'm curious if upgrading to a PNY VCQP2000-PB would help my render times or make my realtime editing and viewing any better? Should I go for this or a 1070gtx? I do game a little on the machine but maybe if it didn't work as well for gaming I'd get more done. :)
I use a pci nvme ssd for my main os card and I have raided ssds for my storage drives. I only have 16gb of ram though, so maybe adding more there would help? Running a 6core Intel CPU.
Thanks!

Related reading: http://www.videocardbenchmark.net/compare.php?cmp%5B%5D=3712&cmp%5B%5D=3521

I compared the two but its hard to find a real world comparison of encoder performance.

That's true... If price is a factor, I'd go with the 1070. If it's not, one option is find a place that will let you do returns (like Amazon, maybe) and order both. Test them, decide which one you like, send the other back. If you have to just choose one, I think I'd go with the 1070. Unless you do CAD, a 1070 will outperform a quadro at the same price point. I don't know if it's better for Adobe, but I know on  Da Vinci Resolve, GTX architecture is better than Quadro.  More reading: https://forums.adobe.com/thread/939738

For AE you'd get the most bang for your buck if you buy more RAM. Have a look how your system's resources are being used during a typical intensive render. What is maxing out? Is it the RAM or the GPU or CPU? Spend $$ accordingly.

Im exporting video now and I'm hitting 100% of my cpu, its an i7 5820k 6 Core Processor. Memory is only hitting 75% 12gb of 16gb. I guess I could upgrade my processor but not too far without swapping out mbs. Maybe ram and video card is the way to go for now then maybe next year do the proc mb.


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Using FFmpeg loop filter makes audio disappear
If I loop a video like below the audio is missing from test 1. If I omit the loop, it is there. What am I doing wrong?
E:\Videos\Loops>ffmpeg -re -f lavfi -i "movie=filename=ShortLoop.mpg:loop=0, set
pts=N/(FRAME_RATE*TB)" test1.mpg
ffmpeg version 3.2.2 Copyright (c) 2000-2016 the FFmpeg developers
  built with gcc 5.4.0 (GCC)
  configuration: --enable-gpl --enable-version3 --enable-dxva2 --enable-libmfx -
-enable-nvenc --enable-avisynth --enable-bzlib --enable-fontconfig --enable-frei
0r --enable-gnutls --enable-iconv --enable-libass --enable-libbluray --enable-li
bbs2b --enable-libcaca --enable-libfreetype --enable-libgme --enable-libgsm --en
able-libilbc --enable-libmodplug --enable-libmp3lame --enable-libopencore-amrnb
--enable-libopencore-amrwb --enable-libopenh264 --enable-libopenjpeg --enable-li
bopus --enable-librtmp --enable-libsnappy --enable-libsoxr --enable-libspeex --e
nable-libtheora --enable-libtwolame --enable-libvidstab --enable-libvo-amrwbenc
--enable-libvorbis --enable-libvpx --enable-libwavpack --enable-libwebp --enable
-libx264 --enable-libx265 --enable-libxavs --enable-libxvid --enable-libzimg --e
nable-lzma --enable-decklink --enable-zlib
  libavutil      55. 34.100 / 55. 34.100
  libavcodec     57. 64.101 / 57. 64.101
  libavformat    57. 56.100 / 57. 56.100
  libavdevice    57.  1.100 / 57.  1.100
  libavfilter     6. 65.100 /  6. 65.100
  libswscale      4.  2.100 /  4.  2.100
  libswresample   2.  3.100 /  2.  3.100
  libpostproc    54.  1.100 / 54.  1.100
Input #0, lavfi, from 'movie=filename=ShortLoop.mpg:loop=0, setpts=N/(FRAME_RATE
*TB)':
  Duration: N/A, start: 0.000000, bitrate: N/A
    Stream #0:0: Video: rawvideo (I420 / 0x30323449), yuv420p, 1280x720 [SAR 1:1
 DAR 16:9], 25 fps, 25 tbr, 90k tbn, 90k tbc
[mpeg @ 00000000002df920] VBV buffer size not set, using default size of 130KB
If you want the mpeg file to be compliant to some specification
Like DVD, VCD or others, make sure you set the correct buffer size
Output #0, mpeg, to 'test1.mpg':
  Metadata:
    encoder         : Lavf57.56.100
    Stream #0:0: Video: mpeg1video, yuv420p, 1280x720 [SAR 1:1 DAR 16:9], q=2-31
, 200 kb/s, 25 fps, 90k tbn, 25 tbc
    Metadata:
      encoder         : Lavc57.64.101 mpeg1video
    Side data:
      cpb: bitrate max/min/avg: 0/0/200000 buffer size: 0 vbv_delay: -1
Stream mapping:
  Stream #0:0 -> #0:0 (rawvideo (native) -> mpeg1video (native))
Press [q] to stop, [?] for help
[mpeg1video @ 0000000003786d40] [mpeg1video @ 0000000003786d40]

The loop option can't be used if you're ingesting multiple streams via the filter.
Use
ffmpeg -re -f lavfi -i "movie=filename=ShortLoop.mpg:loop=0"
       -re -f lavfi -i "amovie=filename=ShortLoop.mpg:loop=0"
       -vf setpts=N/FRAME_RATE/TB -af asetpts=N/SR/TB     test1.mpg

Thank you. That does add audio, but it is not in sync from the first loop onward. Could it be that video and audio are not of the exact same length? Unfortunately (and that is another issue), FFmpeg reports N/A for both so that's not very helpful.

Run ffprobe Shortloop.mpg -show_entries stream=duration -of compact -v 0 to check. You can then remux ffmpeg -i in.mpg -c copy -shortest out.mpg.

There is a 14 ms difference, not enough to explain the sync issue I am seeing. Running your remux does not change anything either.

BTW: ffmpeg -stream_loop -1 -i ShortLoop.mpg out.mpg maintains perfect sync, is a lot faster, but unfortunately has the pause bug. It seems someone fixing that bug is the best solution for me. I have no idea how to make that happen though.

Post to the ffmpeg-devel mailing list and reference the ticket. You may get ignored, but maybe not :)

I did and I wasn't ignored. But the answer was "Nope." so not very helpful. They did inquire after this bug.

Try with avconv. The code for this was grafted from there. It may have been fixed there since the time of borrowing. If so, great. If not, post to their devel list.


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Trying to import a file but AE imports the whole folder
I am new to After Effects. I imported few images into a project before creating a composition and it worked fine. I am trying to import more files but AE is importing the whole folder and not able to choose any individual image. How to fix?

Are the files sequentially numbered, e.g. file1.png, file2.png and so on? If so, AE is assuming they're an image sequence. There's a checkbox in the import window that you can uncheck to stop this happening.

No they are not sequentially numbered. They have random names. Thanks

How are you doing the import?  Press cmd+I to open the import dialogue, or double click in the empty space inside the project frame.  Then select the files you need.

I have tried cmd+I, double click in the empty space inside the project frame and File > Import > File and also, File > Import > Multiple Files but all creating the same issue!! I have also tried closing AE completely and reopening it.


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How can I remove a spotlight effect from a MP4 captured from Youtube?
I want to fix a youtube video by capturing it an removing the spotlight effect. its a bright spot in the middle of the frame. I captured it as an MP4. How can I fix it?

Show a screenshot.

I agree with Mulvya that a Screenshot is worth a 100 words. Failing that, see this: https://avisynth.org.ru/hotspot/hotspotavs.html - You'll need to install AVISynth and create a Mask for each Frame to eliminate it perfectly. Kind of an Inverse Vignette problem.


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Shadowplay Footage Import to iMovie Introduces Audio Artifacts
I've been playing around with this to vary degrees of success and I'm getting slightly confused by what I'm seeing (or rather hearing in this case).  Just playing the clips in a player like QT or VLC doesn't have any issues, so I know the source files are fine.
I started using Shadowplay recording video at the native resolution of my monitor which is 2560x1600.  It offers limited resolution and FPS options like 1080p, 1440p 4K at 30 or 60fps.
All dandy, I started by just using native resolution and 60 fps.  But when I imported this into iMovie I was getting audio issues.
In order to get over these issues I just transcoded these files in Handbrake, imported and edited those and exported just fine.  I also at this point thought that it was the source resolution that was the issue so I setup shadowplay to use 1080p 60fps thinking that I could then skip the transcoding step, preserve a bit more quality and go straight into the editing.
Nope.
Seems even these 1080p 60fps source files when imported into iMovie have  clicks and pops.
When I check the source files it seems that the FPS isn't 60 but is 59.9729 and the preset I created in Handbrake is a constant 60fps.  Could this framerate difference be the source of the audio issue in iMovie?
The source file is 4.6GB but the transcoded file is only 366mb which is obviously a huge difference so I need to check the settings again.  But I'm just curious if this framerate difference is the problem.

After some more digging around and reading on various forums it seems that this is actually a very common problem (along with other effects, not just audio artifacts) with recordings produced by Shadowplay and subsequently imported to many editors.
It seems the source of the problem is that all files produced with Shadowplay record using variable frame rates.
There is a discussion here and here that might be useful.
There is a Handbrake preset here to convert your Shadowplay files to CFR files with no compression.
Or alternatively you can stop using shadowplay completely, skip and transcoding steps and instead use OBS Studio (free) to record your footage.


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Xbox 1 Controller sound while recording
I currently use an Audio-Technica ATR2500-USB Cardioid Condenser USB Microphone with a shock mount, pop filter, and Mudder Large Foam Mic Windscreen for MXL, Audio Technica.
I record using Nvidia Shadowplay with the mic about 3 inches from my mouth with the volume on the Mic set to 65 (in the playback devices menu).
How can I record my audio commentary and not pick up the controller joysticks/buttons like other individuals, I post my material to youtube.
I have tangled with the volume on the mic and whether it's at 10 or 100, it always picks up the controller.

The title does not reveal much information about your problem or what you actually wanted to know.

A typical solution is to create better acoustic isolation between your keyboard/controller and the microphone.  The thing that really stops sound waves is not foam itself, but mass.  Eight ounces of foam is nothing compared to 8 lbs of rigid fiberglass.
Another solution is to use a downward expander.  This audio-processing device (which can be an external analog box or a digital plug-in) can be programmed so that an audio "gate" is closed unless a signal is both loud enough and lasts long enough to open it.  The click of a key would not be enough to open it, but a human voice speaking words would.  While you are talking, the clicks could come through, but they will be masked by the voice, and hopefully not too distracting in that case.


text:
Pointers in Premiere Pro CC
I am very new to video editing and am using PP CC 2017 on a Mac to edit some old 8 mm film reels which have been converted to digital videos in the .mov format. These old 400 foot reels were spliced together from shorter 25 foot reels but now I am attempting to re-arrange them into logical sequences, title them, color correct them and eventually Export to DVD format.

In PP CC 2017; When I extract clips from a long video, I label them
and put them in a Bin but they do not appear as files on my
computer. Can I assume that these are just pointers from within my
Project referencing the original footage?
All told there is over 4 hours of video and I would like to
re-assemble the scenes into various categories, such as, Holidays, Outings,
Family Gatherings and Birthdays. Should I organize everything into
one big project or into separate projects, like say, one for each
category? Are there any particular advantages of one method over the
other?

In PP CC 2017; When I extract clips from a long video, I label them and put them in a Bin but they do not appear as files on my computer. Can I assume that these are just pointers from within my Project referencing the original footage?

Elements of the Project tab (clips, sequences, black video, etc) are all abstract things which, themselves, take up no space on disk.  Clips refer to media files, and those media files, of course, do take up space on disk.  So, yes, you can assume that the clips in the Project tab are just pointers from within your Project referencing the original footage.

All told there is over 4 hours of video and I would like to re-assemble the scenes into various categories, such as, Holidays, Outings, Family Gatherings and Birthdays. Should I organize everything into one big project or into separate projects, like say, one for each category? Are there any particular advantages of one method over the other?

You should organize all of this as a single project, and you should create difference Sequences for each collection of clips you would like to produce as a short.  For example, if "Dad's Birthday, 1945" is three different clips (we'll get to what that means in a minute), you'd make a sequence that edits together at least those three different clips, possibly with other clips that provide glimpses into the past or future.
Clips are initially the media files you import.  And judging by the fact that these initial files are spliced together from shorter reels, each clip may have dozens of individual subjects.  What fun!  This is where you are going to want to master two things: sub-clips and Premiere Pro metadata.
Normally when shooting digitally, each time you hit the "record" button, the camera creates a digital media file that can then become a clip.  Inside PPro you would then set the IN and OUT points of the clip to eliminate the unnecessary frames before and after the action you really wanted to record.
In your case, you have a clip that's a hodge-podge of recorded actions.  You can select frames that constitute a specific action you'd like to use as a clip in your timeline, (right-click → Make Subclip) and it will create an object that behaves just like a clip, even though it's relative to another clip, not a media file on disk.
As soon as you make a sub-clip, it's a good idea to tag it with metadata so you can find and organize it later: categories, subjects, dates, whatever keys you can think of that will help you find, collect, and edit related sub-clips.  To edit the related sub-clips, you put them into a sequence and edit.
Bins (and smart bins, which automatically collect clips according to metadata tags) can help you clean up the clutter of having 100s of sub-clips.
If you want to make 12 chapters for a DVD, you should create 12 sequences.  If you want to make a monolithic DVD, one sequence will suffice.  If don't initially know what you want to do, you can make sequences for each category you define.  You can render "lossless" media files from each of these sequences, then import the resulting clips which you can then organize into a DVD.
To summarize: one project, sequences related to categories or chapters, rich metadata, and hundreds of clips organized into bins to keep your top-level project window sane.

In PP CC 2017; When I extract clips from a long video, I label them and put them in a Bin but they do not appear as files on my computer. Can I assume that these are just pointers from within my Project referencing the original footage?

What exactly do you mean by 'extract clip'? Are you creating subclips (right-click → Make Subclip), or are you refering to the arrangement of clips in a sequence?
In any case, your assumption is correct. Premiere generally never touches the original files or assets. Once you have imported your files into Premiere, everything you do with them within Premiere is stored in the Premiere Pro project file (including the location of the clips on your hard drive). This is a very reasonable approach, since there's no way for your to mess up something and inflict harm to your original footage. Premiere uses the original files along with the editing information (arrangements, clips, settings et c.) stored in the project file to render previews and your final output.

All told there is over 4 hours of video and I would like to re-assemble the scenes into various categories, such as, Holidays, Outings, Family Gatherings and Birthdays. Should I organize everything into one big project or into separate projects, like say, one for each category? Are there any particular advantages of one method over the other?

Depends on what you are going to do with it. If you regard those different categories completely seperate and are quite confident that you will never want to create one video using assets from different categories, you can split them up into different projects to keep it simple.
However, if you decide upon a solid sorting/categorising system and put the time into organising all your files in a streamlined way, it is perfectly feasible to have everything in one project. This is advantageous as you won't have to switch between projects as often while you are working on them. Here are some pointers on how to use bins, keywords and other metadata to get some structure into your project contents.
In general though, I would create a new project on a, well, per project basis. It doesn't really make sense to have huge amounts of files in one single project when they don't belong together.


text:
Adobe Premiere - How To Copy Animation to Another Projects?
Hello I've made text animation with some background and it's slowly fading into video, now I want to recopy this same animation style to another Premiere video projects.
How can I do that?

You can create the text animation as a sequence in your original project.  Then you can import the sequence in a new project. https://helpx.adobe.com/premiere-pro/using/importing-sequences-clip-lists-libraries.html


text:
Avid "Composer" window blank, won't resize
I've got Avid Media composer running on my laptop, and everything has worked fine for the past year.
I traveled from Australia to the US to visit family, and something must have changed on this laptop during that time because the composer window will no longer display video on either side. I can't resize the window - it is stuck that small. CTRL+SHIFT+F still pops up fullscreen, and I can still see video in that. Just not in this window.
I've already tried reinstalling, so I figure this might be some weird problem with my laptop.
Is there any sort of settings reset I could do to try to fix this? Any suggestions?

You can restore the default window arrangement and size using the main menu of Media Composer:

Windows -> Restore to default


text:
FFMPEG slow / fast motion part a video anywhere
am trying to cut a part of Video
Here is the code i have tried Let's say i have 6 seconds video and i want to slow down 2:5 seconds video that 3 second video
First approach after searching is, Cut the video, then apply slow filter then concat it with original video. But this is a mid part not entire video. How can i modify below code

ffmpeg -i Soon.mp4 -filter_complex
  [0:v]trim=2:5,setpts=PTS-STARTPTS[v1];[v1]setpts=0.5PTS[v1];[0:a]atempo=2[a]
  concat=n=1:v=1:a=1 -map "[v]" -map "[a] -preset superfast -profile:v
  baseline output.mp4

This slows down one part of a video and keeps the rest as is.
ffmpeg -i Soon.mp4
  -filter_complex
     "[0:v]trim=0:2,setpts=PTS-STARTPTS[v1];
      [0:v]trim=2:5,setpts=2*(PTS-STARTPTS)[v2];
      [0:v]trim=5,setpts=PTS-STARTPTS[v3];
      [0:a]atrim=0:2,asetpts=PTS-STARTPTS[a1];
      [0:a]atrim=2:5,asetpts=PTS-STARTPTS,atempo=0.5[a2];
      [0:a]atrim=5,asetpts=PTS-STARTPTS[a3];
      [v1][a1][v2][a2][v3][a3]concat=n=3:v=1:a=1"
  -preset superfast -profile:v baseline output.mp4

How does it work?

The trim and atrim filters cut the video into different parts, from 0–2 seconds, from 2–5, and from 5 to the end.
In each part a setpts/asetpts filter is applied, which, when using the option PTS-STARTPTS, "resets" the presentation timestamps of each frame in each part, so that they can later be concatenated easily.
Each part is given an output label (e.g. [v1] through [v3]).
For the video parts that need to be slowed down, every presentation timestamp is doubled (2*(…)), which effectively halves the speed of the video. If you wanted to speed up the video, use a multiplier lower than 1.
For audio parts to be sped up / slowed down, use the atempo filter, whose parameter is the speedup (e.g., 0.5 = half speed).
These parts are finally concatenated using the concat filter.

Hi Thanks for this code :) can u please explain this part [0:a]atrim=2:5,asetpts=2*(PTS-STARTPTS),atempo=0.5[a2]; what is 2 and 0.5?

If you're slowing down part of a video, you'll want to slow down corresponding audio as well. But not the other parts of the audio. That 2 is not needed. Removed. 0.05 is to slow down the audio by 2.

Note: -preset superfast -profile:v baseline will usually result in very bad quality and/or high file sizes. Unless you know that you need these options, it's better to not use them and let ffmpeg use the default settings.

Worked perfectly! Thanks so much.

Thanks to Gyan's answer! Taking that plus a bit research, I have applied it to speed up a video with audio by 6 times. Be aware that atempo argument has a value ranging between 0.5 and 2. So three atempo were used to make up 6 (2 x 2 x 1.5). So the idea is to make the video from 00:00:00 to 00:17:30, a total of 1050 seconds, to play 6 times faster and the rest stays unchanged. Code example as follows:
ffmpeg -i in_file.mp4 -filter_complex \
   "[0:v]trim=0:1050,setpts=1/6*(PTS-STARTPTS)[v1];\
   [0:v]trim=1050,setpts=PTS-STARTPTS[v2];\
   [0:a]atrim=0:1050,asetpts=PTS-STARTPTS,atempo=2,atempo=2,atempo=1.5[a1];\
   [0:a]atrim=1050,asetpts=PTS-STARTPTS[a2];\
   [v1][a1][v2][a2]concat=n=2:v=1:a=1" \
   output_file.mp4

https://video.stackexchange.com/a/21804/10727

@ slhck
This slows down one part of a video and keeps the rest as is.
I've never seen PTS-STARTPTS before. I have always used just PTS for this purpose. I have a recent script that hangs with just PTS but it works with PTS-STARTPTS. Can you explain why?
With PTS
ffmpeg -i "input.mkv" \
-filter_complex \
" \
[0:v]trim='00\:08\:23.961':'00\:08\:24.379',setpts=4*PTS,curves=psfile=curves40.acv,unsharp=13:13:1.5:13:13:1.5[v0]; \
[0:a]atrim='00\:08\:23.961':'00\:08\:24.379',asetpts=PTS,atempo=0.5,atempo=0.5[a0]; \
[0:v]trim='00\:08\:23.961':'00\:08\:24.379',reverse,setpts=4*PTS,curves=psfile=curves40.acv,unsharp=13:13:1.5:13:13:1.5[v1]; \
[0:a]atrim='00\:08\:23.961':'00\:08\:24.379',areverse,asetpts=PTS,atempo=0.5,atempo=0.5[a1]; \
[v0][a0][v1][a1]concat=n=2:v=1:a=1[out] \
" \
-map "[out]" \
-r $fps -c:v libx264 -preset slow -crf 10 -map_chapters -1 -bf 2 -flags +cgop -pix_fmt yuv420p -codec:a aac -strict -2 -b:a 384k -r:a 48000 \
-movflags faststart "otput.mp4"

With PTS-STARTPTS
ffmpeg -i "input.mkv" \
-filter_complex \
" \
[0:v]trim='00\:08\:23.961':'00\:08\:24.379',setpts=4*(PTS-STARTPTS),curves=psfile=curves40.acv,unsharp=13:13:1.5:13:13:1.5[v0]; \
[0:a]atrim='00\:08\:23.961':'00\:08\:24.379',asetpts=PTS-STARTPTS,atempo=0.5,atempo=0.5[a0]; \
[0:v]trim='00\:08\:23.961':'00\:08\:24.379',reverse,setpts=4*(PTS-STARTPTS),curves=psfile=curves40.acv,unsharp=13:13:1.5:13:13:1.5[v1]; \
[0:a]atrim='00\:08\:23.961':'00\:08\:24.379',areverse,asetpts=PTS-STARTPTS,atempo=0.5,atempo=0.5[a1]; \
[v0][a0][v1][a1]concat=n=2:v=1:a=1[out] \
" \
-map "[out]" \
-r $fps -c:v libx264 -preset slow -crf 10 -map_chapters -1 -bf 2 -flags +cgop -pix_fmt yuv420p -codec:a aac -strict -2 -b:a 384k -r:a 48000 \
-movflags faststart "otput.mp4"

In both cases I get frame=    0 fps=0.0 q=0.0 size=       0kB time=00:00:00.00 bitrate=N/A speed=   0x but it works in this case.


text:
Good alternatives to Omnidazzle?
Does anyone know of a good pen software that allows you to draw on the screen? kind of similar to omnidazzle ?

here are couple of sites you should check out:
1.http://epic-pen.com/
2.http://ink2go.org/
3.https://www.pencilkings.com/drawing-tools-and-drawing-software/
hope it helps, good luck!

Hi Lea, thank you so much for the response. When I followed the epic-pen.com link you sent I get the following script after downloading: MZP
4‘@3“ã¬¿çD¡ãââBÉ˙duÏããâ^[√êââ@√ã¿SVãÚãÿËùˇˇˇÖ¿u3¿^[√ãâPãVâPãââXâBâ∞^[√ãPãâ
âQã8‘@â£8‘@√SVWUQãÒâ$ãËã]ã$ãâãPâVã;ãCã–S;uã√Ë∑ˇˇˇãCâãCFÎãV;¬u
ã√ËöˇˇˇãCFãﬂ;Îu¬ã÷ã≈ËUˇˇˇÑ¿u3¿âZ]_^[√ç@SVWUÉƒ¯ãÿã˚ã2ãC;rlãŒJãËk;Õw^;uãBCãB)CÉ{uDã√Ë5ˇˇˇÎ;ã

Presentify is a simple mac app to let you draw on the screen. It has a whiteboard option and also highlights the cursor in different styles.

Website: https://presentify.compzets.com
App Store: https://apps.apple.com/app/presentify/id1507246666
Disclosure: I am the developer of this app.


text:
Website or tool for timing other language subtitles based on a properly timed but different language one?
I sometimes get in a situation, when I have an already properly timed subtitles for a video and I have a different language subtitle file, which I would like to synchronize to the existing one. Usually it can not be done easily, because the other language subtitles can not be paired with the proper one (eg.: other language used different partitioning of the sentences, or some of the sentences simply wasn't translated, etc). Furthermore sometimes linear stretching or compression of the subtitles timings don't work (tool for this purpose available on this website: http://subtitlefix.com under the 2 in 1 section). In this case one have to determine 2 pairs of corresponding subtitle lines, and then solving a linear equation, an "a" and a "b" value is computed, with whom the timing data are transformed according to an a*t+b linear equation, where "t" is the time.
For problematic cases even this method don't work well. What other automatic, and semi-automathic tools, techniques should taken into consideration for such scenarios?


text:
Adobe Premiere Pro - Select timeline region and remove it
I'm new to Adobe Premiere Pro CC.
How do I select a region in the timeline using the keyboard and then delete it, like you'd do in Sony Vegas Pro?

This can be done very easily be setting In and Out points in the sequence timeline.
In and Out points can be set using the I and O keys respectively.

Once you have made your select, press the Delete key to remove the selection.
Make sure that the video and audio tracks you want deleted have 'track targeting' activated.

If you want to quickly remove the gap between all the clips, you can also right-click in the empty area and select 'Ripple Delete'.


text:
How can I achieve a smooth animation in Adobe Premiere?
I want to make a video in Adobe Premiere, I noticed that there is a certain kind of animation that video editors use in video essays, here is an example:
Check Your Schadenfreude
You can see how there is a smooth animated motion that appears when a text is highlighted or an object is being revealed, how can I make a similar effect? I was able to make something that is a bit close to it but I can't make it perfect, are there any presets for this? what should I search for?

You need to add ease-in to the motion. That's where the motion slows as it approaches the final position. You can add it quickly by hitting the f9 key. This sets the speed of the keyframe to zero, and gives it 16% influence. To change the effect you cn edit this by opening the keyframe properties dialogue. Hit ctrl/⌘shiftk. Alternatively open the graph editor and click on the position property to show the graph. You can adjust the speed of the keyframe and its influence by dragging the Bézier handles there.
You might want to duckduckgo the 12 principles of animation, if you want to do some extra reading. This is a valuable guide to creating pleasing motion in animation and motion graphics, that is as true now as it was when it was written back in the days of cels and paint.


text:
Sony Movie Studio Platinum 13 - Rendering output movie freezes, or has glitches in rendered file
Using Sony Movie Studio Platinum 13 on Windows 10, the output movie freezes at random points or has glitches/artifacts within the rendered movie file. Does anyone have any suggestions as to how to get a reliable output movie?

I have found the following to work:

Restart the PC
Reset Movie Studio settings to default by:

Hold down Ctrl and Shift when starting program
When the software starts to load, a window asks, Do you want to reset all program preferences to default? Select Yes.
Make sure to tick the checkbox, Delete all cached application data.

Deleting all .sfk files can also help with problem projects
The default MP4 and AVCHD files seem to be pretty reasonable quality, and less error-prone.

Extracted tips from: https://forums.creativecow.net/thread/208/883399


text:
Can I play the preview at a lower speed?
When looking at the the project monitor (red circle in picture), how can I decrease the speed of the playback?

I want to check if my transitions and effects are OK, but it is really hard to do this at normal speed. I know I can jump by frame but I would like to keep the speed constant. All I can find on Google is how to slow down clips.


text:
Best encoding setting for presentation like video
I have a video series that have a low fps by nature. The videos are in presentation format with audio.
The video is produced using Adobe Premiere Pro CC 2015 and contains 4K image clips and 256kbps audio clips. Videos range from 2 minutes to 4 hours.
The 1 minute video is around 274MB and the 4 hours video is around 60GB although most of the video is still pictures.  Is there a way to render the video with a smaller size?
Here is a sample of the video series:

What is the intended distribution channel?

You may also find https://video.stackexchange.com/questions/10418/what-is-the-optimal-codec-and-encoding-parameters-to-encode-video-podcast/ useful.

I intend to distribute via YouTube and need 2K to make it look nice on TVs.

Which encoding do you use now? MPEG should be fine I think.


text:
Resizing a video in Premiere without scaling
I have a video that's 1280x720.
I want it to be 720x720 without re-scaling it (e.g., I simply want to cut off the excess on the right). I need to embed it on a website which is why the sizing sounds strange.
How do I do this?

Create a sequence that is 720x720, drag the clip on to the timeline, and in the canvas window use the arrow tool v to double click the layer which brings up the layer controls. Position it the way you want, export.  I'm pretty sure Premiere doesn't scale non-uniformly by default.
If it does for some reason, you'll probably want to use the conform options to adjust how it is conformed to the sequence.
You'll need to use a custom sequence setting since none of the presets will match your 720 by 720.  You'll also want to make sure you use square pixels (1.0 pixel pitch) if you are looking for a perfectly square output.

You can also use the position settings in the effects window for the clip. You'd want to set the x coordinate to 640.

@Stib, thanks for the edit.  It's been a bit since I used Premiere now that I've switched over to Resolve as my go to and didn't have my Premiere machine handy.


text:
ffmpeg: Crop 21:9 out of 16:9 video
I've several old VOB's (self-recorded DVD's) with 21:9 content that is embedded in 16:9 videos…
Width                                    : 720 pixels
Height                                   : 576 pixels
Display aspect ratio                     : 16:9

I want to crop the 21:9 part from it and re-encode everything.
cat *.VOB | ffmpeg -i - -vcodec mpeg2video -q:v 0 -q:a 0 -flags +ilme+ildct -alternate_scan 1 -top 1 -vf crop=720:432:0:72 -aspect 21:9 -s 720x432 test.mpg
This works (nearly) as expected, but the video is displayed with 2.21:1 or similar strange aspect ratios in VLC or Kodi. Any ideas what's wrong with my ffmpeg arguments?
Input #0, mpeg, from 'pipe:':
  Duration: N/A, start: 0.118367, bitrate: N/A
    Stream #0:0[0x1bf]: Data: dvd_nav_packet
    Stream #0:1[0x1e0]: Video: mpeg2video (Main), yuv420p(tv, bt470bg), 720x576 [SAR 64:45 DAR 16:9], max. 9400 kb/s, 25 fps, 25 tbr, 90k tbn, 50 tbc
    Stream #0:2[0x80]: Audio: ac3, 48000 Hz, stereo, fltp, 256 kb/s
[mpeg @ 0x1d25880] VBV buffer size not set, using default size of 130KB

Output #0, mpeg, to 'test.mpg':
  Metadata:
    encoder         : Lavf56.40.101
    Stream #0:0: Video: mpeg2video, yuv420p, 720x432 [SAR 7:5 DAR 7:3], q=2-31, 200 kb/s, 25 fps, 90k tbn, 25 tbc
    Metadata:
      encoder         : Lavc56.60.100 mpeg2video
    Stream #0:1: Audio: mp2, 48000 Hz, stereo, s16, 384 kb/s
    Metadata:
      encoder         : Lavc56.60.100 mp2

Stream mapping:
  Stream #0:1 -> #0:0 (mpeg2video (native) -> mpeg2video (native))
  Stream #0:2 -> #0:1 (ac3 (native) -> mp2 (native))

Best to make it a square-pixel stream:
... -vf crop=720:432:0:72,scale=iw*sar:ih,setsar=1 test.mpg

That works, but sadly the video now looks worse when upscaling from 720 to 1024 pixel. That's the reason why I want the unmodified frame size of 720×432. And other ideas?

Are you scaling the output created using the filters above? You shouldn't be. On digital players, players have to scale videos when they encounter a non-unit aspect ratio. Usually, they'll use a bilinear algorithm. ffmpeg's scaler uses bicubic (by default) so it's strange that this looks worse. Although your ffmpeg readout doesn't show it, your source may be interlaced, in which case, for scale, use scale=iw*sar:ih:interl=1. If you want to skip the scale, then drop setsar as well, and insert setdar=21/9 after the crop.


text:
what encoder can take advantage of 16-core setup? converting/ripping Blu-ray to mp4 format
I'm thinking of upgrading my 6-core setup (single CPU) setup to a 2x8-core/CPU setup. I'm wondering what software will allow me to fully utilize all the cores.
I've been using handbrake but I do not think it utilizes all the cores. I prefer software that is freeware but paid software is ok too if it's not to expensive.
Thanks!

FYI: Handbrake is ffmpeg with a gui. I find ffmpeg (unhindered by third party stuff) is pretty amazing.

Adding on to @DigiVisionMedia's comment: I fully agree and use both Handbrake and ffmpeg via command line very often. They take advantage of multiple CPUs, multiple cores, and hyperthreading very efficiently. My setup is 2x 6-cores and it flies.


text:
Add filter to prores file
I have captured some Mini-dv home videos to .avi.
With ffmpeg I converted to prores v2 .mov files.
Now i need to add yadiff filter.(interlaced -> noninterlaced)
Is is possible to "update" my files with the yadif filter without write a complete new file ?
If not, how do I preserve my movie/audio quality/filesize while adding the yadif filter.
Is ffmpeg -i file1.mov -vf yadif -c:v prores_ks -profile:v 2 -c:a copy New-File1.mov the best way to do this ?
Or can I use the copy funktion for the video as I do for the audio?
/tnx in adv

Your command is fine. A new file has to be written and video can't be copied.

Your best bet if you want to de-interlace and convert to prores without extra loss in quality is to do both actions at once.  Any re-encode, particularly if the encoding you are working from has had consumer level codecs and/or bitrates applied in the past, will cause (potentially significant) additional degradation.  Your best bet is to minimize the number of re-encodes needed by doing as much processing at the same time as you can and maintaining the highest possible image quality as long as possible in your tool chain.
It is unfortunately not possible to make many alterations to video without a re-encode.  There's a limited number of actions that can sometimes be taken, but something like de-interlacing is not included in that list.

Hello. I have testet now. And Mr. @AJ Henderson, its correct what you wrote. I have to re-capture my videos. ;=( Now I need a filter, I have some white lines on an floor that need to be aligned / corrected. Any suggestion to which ffmpeg filter can handle it. /tnx in Adv.

@EDBSMED - I am, unfortunately, no expert in FFMPEG.  I normally use other encoders or if I have to use ffMPEG, I use GUI tools.

Thank you for take time helping me.
Just pure curiosity, what other encoder do you use?

A mix of Adobe Media Encoder and the one that Resolve works from.  If I use ffmpeg, I normally do it through Handbrake.


text:
after effects letters animation
Hi guys I am pretty new in after effects.  Please guide me to create something like this.

Effects's names etc.

To do that I'd use animated masks on each letter to reveal them. First I'd make the text layer, then one by one add masks.  So for the M I'd:

make a small rectangular mask just below the bottom of the lower left leg, the same width as the leg.
Because we want to see the letter while we're animating the mask I'd set the mask mode to none temporarily.
Turn on animation for the mask shape (hit m to reveal the mask shape property and click the stopwatch to turn on animation, or just hit alt / optshiftm)
Next I'd move the playhead a couple of frames to the right and drag the top two vertices of the mask up so that they follow the shape of the leg. If the mask was set to add at this point you'd see a bit of the M's leg appearing. Align the top right vertex of the mask with the inside vertex of the leg, where it meets the downward stroke.
move say, another frame right and drag the top left vertex of the mask so that it is aligned with the top left vertex of the M. A bit outside it is probably best.
move another frame along and now add another vertex near the top left one. Move it to the top-right side of the first leg of the M
move this new keyframe and the old top-right keyframe to reveal the first downward stroke

…and so on. Basically you just reveal the character with a mask. Remember that between keyframes mask vertices always move in straight lines. So to get them to move in a curve you need to add lots of intermediate keyframes. You can also use smart mask interpolation to help.
In the video above it happens twice, so you can just copy the layer, set the opacity to 50% and start it a few frames earlier.

There are actually three different effects here.  All are custom rather than canned and will require intermediate animation skill to get a similar look and feel.
The first is just an animated reveal like stib already did a great job describing, so I won't cover that again.
The second part appears to be a mix of kerning, scale, vertical positions on a wave and a bounce, though that might just be reducing the influence of the wave on vertical positioning.  Kerning is the space between letters and it gets smaller over time while the vertical position is being offset on a wave that starts at the center.  There might also be a slight vertical bounce at the end.  The letters also get bigger as they come in.  Additionally there is a quick fade in at the start.
The third part is a stretch and bounce and will likely require the most artistic animation skill.  The image is animated along the vertical axis to create the bounce and then it is stretched along the vertical axis to give the illusion of it jumping.  Timing this is key and can be rather tricky to get right as it's trying to apply the appearance of locomotion to a static object.


text:
Is anyone in this group selling educational videos via a hosting website (in my case Expertise TV)?
I have a series of educational videos ready to sell. I am now starting to panic about them being shared all over the internet for free. Is anyone here already selling videos and finding that it is worthwhile despite the risks? Any tips?

I am not, but I am involved with a streaming TV series which is distributed online.  In general, online distribution channels are worth it for the accessibility and ease of use it brings you.
There is always the risk of people pirating your work, but that risk exists even if you never put things online.  If you distribute DVDs, there is nothing stopping someone from ripping them and posting the content online.  If your platform of choice employs DRM, then it provides at least a minimal barrier to copying the content online trivially (though determined people will still manage to do it, but they'll succeed regardless of distribution channel).
If you currently only do live events and are wondering if video is worth it vs just doing live events, that's a little more tricky as a much more limited group of people would have the opportunity to film you with their phone and post it (and the quality would be substandard at best for such videos) but if you are already recording your lectures, then online distribution carries a lot of benefit for the risk involved.


text:
Speed up a video 30x using only key frames with ffmpeg?
I have a 30 fps video with a GOP 30 (1 i-frame per second).
I'd like to create a version that is '30x faster', by dropping all frames except every 30th frame. I can do that as so:
ffmpeg  -i t1.mp4 -filter:v "setpts=.033333*PTS" f6.mp4

It creates the desired output, but it runs slow, and uses a lot of CPU. I presume this is because it is stepping through all the frames and decoding each one before throwing away 29/30 of them.
Is there a way to instruct ffmpeg to create a '[GOP]x faster' video using only the key frames, so that it need only decode the i-frames?
I'd also like it to do no transcode of the iframes - same size, etc. I don't mind what the GOP of the output video is.
thanks

For a H264/5 stream, this can be done in two steps:
ffmpeg -discard nokey -i t1.mp4 -c copy t1.264

ffmpeg -r 30 -i t1.264 -c copy t1keys.mp4


text:
Video stabilization for a timelapse video of paraglider flight?
Below you can see a sample of paragliding video recording. As pilot I'm trying to fly straight, but my harness (and camera) keep moving back and forth, left and right, every 2-3 seconds.
What is the best way to do a smooth time-lapse video out of this clip? A "plane alike" effect? I assume that I could use 1 frame of every ~5-second clip, just not necessarly uniformly distributed.

I don't see any way to do this without creating special events in your video editor.

Very time consuming and probably won't get as good results as you're hoping for


text:
How to place a picture into an object and zoom into it to make it big? (After Effects)
Im working on a simply animation movie and saw this cool effect were theres a computer screen or phone screen for example with a picture on, than the camera zooms into the picture, like a transition into a further story.
How do I make something like that? I got a magnifying glass, in which I would like to pllace a picture of a caste in small and then enlarge it, so the castle fills the screen...
I would be soooo thankful for help!

There's a few ways to do this. The simplest is to make the castle layer the parent of the magnifying glass (use the parent drop-down or the pick whip), so that as you scale the castle up the magnifying glass scales up as well. This will let you move the magnifying glass independently, because child layers inherit the parent's transformation, but not vice-versa.

To scale up the castle:

hit s to bring up the scale property and with the playhead at the point you want the animation to start click the stopwatch to turn animation on
or hit alt / ⌥shifts which does the same thing, but ninja style.
move the playhead to where you want the animation to stop, and scale the castle however you want. This will automatically create a new keyframe. A lot of people get confused because they click the stopwatch a second time, which you might think would add another keyframe - it doesn't it just turns animation off.

Now if your castle is not in the center of the screen in the zoomed-out frame you'll need to either add keyframes for motion (same technique, just substitute p for s), or you'll need to use the pan-behind tool to adjust its anchor point so that it's in the right spot at the end of the zoom. Often it's easiest to do it in reverse, so you frame up the castle like you want and then move the playhead backwards and zoom out.
A slightly more complex (in some ways, but easier in others) way is:

make both layers 3D layers (click the 3D box on the layer properties column)

Now move the magnifying glass forward (hit p and increase the value of the third column, the z coordinate).
create a new camera (Layer>new>Camera or ctrl / ⌘alt / ⌥shiftc). Just use the defaults for now.
use the camera tool c to move the camera around. Set keyframes on its position (hit p to show it) and target property (hit a - a bit confusing, but it's like anchor points for normal layers). Put a keyframe where you want the camera to be at the start of the zoom, and another at the end.

For bonus points play around with the speed of the movement. A linear zoom in is going to feel a bit jerky, try adding ease to the keyframes to smooth it off, or even anticipation and follow through to make it cartoony.

No worries. If it answers your question consider marking it as the answer.


text:
I want to run two 24/7 livestreams at once, both these streams will be on Youtube, is it possible?
I want to run two 24/7 livestreams at once (both on Youtube), using an intel nuc device with the assistance of obs studio software, is this possible?
If not, how can I run 2 24/7 streams at once without needing two computers?

I'm not sure YouTube allows 24/7 streaming. Look at Twitch.

Check out Periscope

I think you've misunderstood, I need to run 2 different streams 24/7 with pre-recorded material. But I want to do this without needing two computers.

Are the streams the same content?

I think that will depend on the platform. I don't think YouTube allows that, unless you use two accounts. Either way, the answer is to open two instances of the upstream program (or browser for web based). Your only technical limits are your up speed and processing. Naturally, some platforms specifically block it. If we're working with recorded material, not actual live streams, then any consumer grade laptop should work.


text:
How to delete a portion of timeline without having the rest of that channel "slip"
Sony Platinum Studio V 12
I want to delete a portion of one channel and have the rest of that channel NOT SLIDE around, i.e., stay sync'd with the OTHER channels.
Note:the Sound Effect clip outlined in red is odd. There is no Trim Event End handle.


text:
Generate thumbnail images with alpha channel from a video which has an alpha channel using ffmpeg
I'm working with ffmpeg and processing MOVs with alpha channels. I want to generate a sequence of images and preserve the alpha channel in the images generated.
Any guidance or help would be appreciated.

I found this solution on StackOverFlow.com: https://stackoverflow.com/questions/7742506/convert-flv-video-with-alpha-channel-to-pngs-with-transparency
./ffmpeg -i ../videos/video.mov -r 25 -vcodec png -pix_fmt rgb32 %d.png

I'm glad you found an answer on SO.  If you could include a link to the actual answer here, that would be helpful for anyone trying to find more information.


text:
How can you get clips from different YouTube videos to have the same resolution or frame size in Adobe Premier Pro CS6 2017?
I'm new, so pardon my incorrect terminology.
Let's say that I download different YouTube clips using an online converter. When I put them into a sequence in Adobe Premier Pro, the clips from the different videos tend to have different frame sizes. I could scale to frame size or set to frame size, but this has lead to black bars on the side or top of the video. So that isn't what I'm looking for. In the end, when I upload to YouTube, I want all of the videos to be the same size so that there are not any black bars in the final product.
The second step was to create a new sequence first and have that start off the frame size I'm looking for. So, for example, I want to upload to YouTube, so I use 23.976 frames, 1920x1080, and other basic settings for the sequence. However, when I upload my clips after that to the sequence, the clip is tiny compared to the program monitor's preview display, and when I add different clips from different vids, I still have the same issue that they are not the same frame size. Is there a way to fix that?
So, I hope I was clear enough. If anyone needs any further clarification, please let me know and I'll try to answer it. I'm new to this stuff, but I'll do my best.

There is no ideal solution to your problem, if you don't want the black bars.
Pick your main timeline frame size and aspect ratio, and make all the clips fit that timeline. This, of course will reduce the resolution of your smaller clips.
If most of your clips have a frame size of 1280x720 and therefore a 16x9 aspect ratio, then create a timeline that has that frame size and aspect ratio. If most your clips have a frame size of 640x480, then that's your frame size, etc.
Then simply fit the clips that don't have your chosen frame size and aspect ratio to your main timeline by adjusting their scale in a way that any black area is pushed off-frame.

Cropping the videos seems the solution to his problem. He can also change aspect ratio but wont look so great anymore.


text:
Export from Camtasia to Premiere Pro, with good audio
How can I export from Camtasia to Premiere Pro keeping the two audio tracks as separate audio tracks in Premiere Pro?

If all else fails, do two different exports, one with each audio track muted and then put them on separate tracks in Premiere.


text:
FFmpeg Windows MP4 - remove specific frames
I have a movie - movie.mp4. I wish to remove/delete specific contiguous frames from movie.mp4 which are located somewhere near the middle.
Specifically, total frames in movie.mp4 = 33,595.
I would like to remove frames 19,965 to 19,982
Using FFmpeg - I guess this is question of creating two temp files which exclude the deleted frames and then concatenating the two temp files back into one. My knowledge of FFmpeg is limited so I son't know how to do this.
Also if I wish to exclude other chunks ( frames e.g. 19,561 to 19581, etc) can this be achieved efficiently in one coding string.
Any suggestions greatly appreciated. Many thanks.

Is audio present?


text:
Editing 4k footage in 1080p project and rendering in 4k?
I edited my 4k footage in a 1080p Premiere Pro project.
Now If I render the project in 4k, will the 4k clips keep their Quality or will they downscale to 1080?

There is two option at sequence setting. Video and video previews. If the video set 4k, and the video previews set 1080, i shoud not be downscale at rendering.

To expand on @Dul32's answer:
Below is the settings dialog for a new sequence. The settings for the preview (what you see when you're editing) are at the bottom, the actual pixels settings for the sequence (what you get at the end by default) are at the top.
Note that the size of the sequence also determines the placement of the video clips and any graphic elements, so if you're doing any movement etc., it might be tricky resizing later, so it's worth setting it up correctly at the start.
The preview format is the codec that gets rendered as a playback preview. All I frame MPEG is fast and small, unless you're doing heavy colour owrk and need a 10 bit preview it's probably the best choice.

Remeber that you have to also set the output settings when exporting. If your sequence is set up right you can match the dimensions and then pick your codec.


text:
Premiere encode in h264 using "ultrafast" preset
Often I use Premiere to transcode or export media where the final size isn't the main problem.
I'm used to the ultrafast preset from ffmpeg, what I wonder is.. it is possible to pick the same options that I generally use: QuickTime as container and H.264 but set also the ultrafast option ?
My pc is very slow and this would be a lifesaver for encoding times.

Not out-of-the-box as far as I'm aware. Those presets are specific to the x26* encoders. Premiere bundles Mainconcept's H.264 encoder. You can try third party plugins which allow one to use x264 from within Premiere:
https://sourceforge.net/projects/x264vfw/
http://www.x264pro.com/

Thanks, it seems it costs a lot however, 250 $, I'm looking for a free solution, and sourceforge one linked show viruses on virustotal check.

Many people use the SF one. It shows clean at https://www.virustotal.com/en/url/8850e7699a7356d930a7fb2683cf4f70dcd69da3090fd70e70163dcf062dc66e/analysis/1502294490/

The correct scan of that file is done via file upload and is this one: https://www.virustotal.com/en/file/d7f174d122bfe6b16b6479fc8c480893c0b5252865cdfab3a81fcc15dc877e44/analysis/

That's 3/64 and 2 of those are heuristic matches, not positive IDs. Test using your local A/V but I doubt it's a problem.


text:
FFMPEG drops end frames when converting a unmatted alpha .mov to .webm using ffmpeg but converts fine when alpha is premultiplied?
I am using ffmpeg to convert a straight alpha .mov to a webm so I can layer videos on top of one another for a web game however when converted the duration is the right length but the frames freeze just before the end. I need the video to loop perfectly which the premult does but not the straight (videos at bottom - I apologies for the poor quality!)
When I use a premultiplied alpha of the exact same video is converts fine. I need the alpha to be straight so that there is no black line silhouetting the alpha so it comps together correctly! I am not sure what is causing the problem, I thought it might be a frames per second issue (using 24fps) but specifying it doesnt change anything for both of them!
This is the code I have been using in my terminal for both versions of the video (unmatted and matted):
ffmpeg -r 24 -i Desktop/INO_MOV/W2.mov -c:v libvpx-vp9 -strict -2 -crf 20 -b:v 0 -pix_fmt yuva420p -auto-alt-ref 0 -r 24 Desktop/INO_MOV/Walk_2.webm

This is what I get back from the premultiplied test video which works:
ffmpeg -r 24 -i Desktop/INO_MOV/W.mov -c:v libvpx-vp9 -strict -2 -crf 20 -b:v 0 -pix_fmt yuva420p -auto-alt-ref 0 -r 24 Desktop/INO_MOV/Walk_1.webm
ffmpeg version 3.3.3 Copyright (c) 2000-2017 the FFmpeg developers
  built with Apple LLVM version 6.1.0 (clang-602.0.53) (based on LLVM 3.6.0svn)
  configuration: --prefix=/usr/local/Cellar/ffmpeg/3.3.3 --enable-shared --enable-pthreads --enable-gpl --enable-version3 --enable-hardcoded-tables --enable-avresample --cc=clang --host-cflags= --host-ldflags= --enable-libmp3lame --enable-libvpx --enable-libx264 --enable-libxvid --enable-opencl --disable-lzma --enable-vda
  libavutil      55. 58.100 / 55. 58.100
  libavcodec     57. 89.100 / 57. 89.100
  libavformat    57. 71.100 / 57. 71.100
  libavdevice    57.  6.100 / 57.  6.100
  libavfilter     6. 82.100 /  6. 82.100
  libavresample   3.  5.  0 /  3.  5.  0
  libswscale      4.  6.100 /  4.  6.100
  libswresample   2.  7.100 /  2.  7.100
  libpostproc    54.  5.100 / 54.  5.100
Input #0, mov,mp4,m4a,3gp,3g2,mj2, from 'Desktop/INO_MOV/W.mov':
  Metadata:
    major_brand     : qt
    minor_version   : 537199360
    compatible_brands: qt
    creation_time   : 2017-08-10T09:51:13.000000Z
  Duration: 00:00:02.50, start: 0.000000, bitrate: 209667 kb/s
    Stream #0:0(eng): Video: qtrle (rle  / 0x20656C72), bgra(progressive), 1280x720, 206312 kb/s, SAR 1:1 DAR 16:9, 24 fps, 24 tbr, 24 tbn, 24 tbc (default)
    Metadata:
      creation_time   : 2017-08-10T09:51:13.000000Z
      handler_name    : Apple Alias Data Handler
      encoder         : Animation
      timecode        : 00:00:00:00
    Stream #0:1(eng): Data: none (tmcd / 0x64636D74), 0 kb/s (default)
    Metadata:
      creation_time   : 2017-08-10T09:51:13.000000Z
      handler_name    : Apple Alias Data Handler
      timecode        : 00:00:00:00
Stream mapping:
  Stream #0:0 -> #0:0 (qtrle (native) -> vp9 (libvpx-vp9))
Press [q] to stop, [?] for help
[libvpx-vp9 @ 0x7fcce2803c00] v1.6.1
Output #0, webm, to 'Desktop/INO_MOV/Walk_1.webm':
  Metadata:
    major_brand     : qt
    minor_version   : 537199360
    compatible_brands: qt
    encoder         : Lavf57.71.100
    Stream #0:0(eng): Video: vp9 (libvpx-vp9), yuva420p, 1280x720 [SAR 1:1 DAR 16:9], q=-1--1, 24 fps, 1k tbn, 24 tbc (default)
    Metadata:
      creation_time   : 2017-08-10T09:51:13.000000Z
      handler_name    : Apple Alias Data Handler
      timecode        : 00:00:00:00
      encoder         : Lavc57.89.100 libvpx-vp9
    Side data:
      cpb: bitrate max/min/avg: 0/0/0 buffer size: 0 vbv_delay: -1
frame=   60 fps=1.6 q=0.0 Lsize=     723kB time=00:00:02.45 bitrate=2407.5kbits/s speed=0.0657x
video:226kB audio:0kB subtitle:0kB other streams:0kB global headers:0kB muxing overhead: 219.496933%

And this from the same video with a straight alpha (does work):
ffmpeg -r 24 -i Desktop/INO_MOV/W2.mov -c:v libvpx-vp9 -strict -2 -crf 20 -b:v 0 -pix_fmt yuva420p -auto-alt-ref 0 -r 24 Desktop/INO_MOV/Walk_2.webm
ffmpeg version 3.3.3 Copyright (c) 2000-2017 the FFmpeg developers
  built with Apple LLVM version 6.1.0 (clang-602.0.53) (based on LLVM 3.6.0svn)
  configuration: --prefix=/usr/local/Cellar/ffmpeg/3.3.3 --enable-shared --enable-pthreads --enable-gpl --enable-version3 --enable-hardcoded-tables --enable-avresample --cc=clang --host-cflags= --host-ldflags= --enable-libmp3lame --enable-libvpx --enable-libx264 --enable-libxvid --enable-opencl --disable-lzma --enable-vda
  libavutil      55. 58.100 / 55. 58.100
  libavcodec     57. 89.100 / 57. 89.100
  libavformat    57. 71.100 / 57. 71.100
  libavdevice    57.  6.100 / 57.  6.100
  libavfilter     6. 82.100 /  6. 82.100
  libavresample   3.  5.  0 /  3.  5.  0
  libswscale      4.  6.100 /  4.  6.100
  libswresample   2.  7.100 /  2.  7.100
  libpostproc    54.  5.100 / 54.  5.100
Input #0, mov,mp4,m4a,3gp,3g2,mj2, from 'Desktop/INO_MOV/W2.mov':
  Metadata:
    major_brand     : qt
    minor_version   : 537199360
    compatible_brands: qt
    creation_time   : 2017-08-10T09:54:51.000000Z
  Duration: 00:00:02.50, start: 0.000000, bitrate: 209667 kb/s
    Stream #0:0(eng): Video: qtrle (rle  / 0x20656C72), bgra(progressive), 1280x720, 206312 kb/s, SAR 1:1 DAR 16:9, 24 fps, 24 tbr, 24 tbn, 24 tbc (default)
    Metadata:
      creation_time   : 2017-08-10T09:54:51.000000Z
      handler_name    : Apple Alias Data Handler
      encoder         : Animation
      timecode        : 00:00:00:00
    Stream #0:1(eng): Data: none (tmcd / 0x64636D74), 0 kb/s (default)
    Metadata:
      creation_time   : 2017-08-10T09:54:51.000000Z
      handler_name    : Apple Alias Data Handler
      timecode        : 00:00:00:00
Stream mapping:
  Stream #0:0 -> #0:0 (qtrle (native) -> vp9 (libvpx-vp9))
Press [q] to stop, [?] for help
[libvpx-vp9 @ 0x7ffba400e600] v1.6.1
Output #0, webm, to 'Desktop/INO_MOV/Walk_2.webm':
  Metadata:
    major_brand     : qt
    minor_version   : 537199360
    compatible_brands: qt
    encoder         : Lavf57.71.100
    Stream #0:0(eng): Video: vp9 (libvpx-vp9), yuva420p, 1280x720 [SAR 1:1 DAR 16:9], q=-1--1, 24 fps, 1k tbn, 24 tbc (default)
    Metadata:
      creation_time   : 2017-08-10T09:54:51.000000Z
      handler_name    : Apple Alias Data Handler
      timecode        : 00:00:00:00
      encoder         : Lavc57.89.100 libvpx-vp9
    Side data:
      cpb: bitrate max/min/avg: 0/0/0 buffer size: 0 vbv_delay: -1
frame=   60 fps=0.7 q=0.0 Lsize=    5486kB time=00:00:02.00 bitrate=22460.5kbits/s speed=0.022x
video:5077kB audio:0kB subtitle:0kB other streams:0kB global headers:0kB muxing overhead: 8.056586%
Thomass-iMac:~ thomasquemby$ ffmpeg -r 24 -i Desktop/INO_MOV/W2.mov -c:v libvpx-vp9 -strict -2 -crf 20 -b:v 0 -pix_fmt yuva420p -auto-alt-ref 0 -r 24 Desktop/INO_MOV/Walk_2.webm

Ive read through the code but I cant see whats going wrong? Is this just a bug with ffmpeg? Any help would be great!
Links to the videos:
Working Premult: https://www.dropbox.com/s/y3o9j9kl8ow3gfm/Walk_1.webm?dl=0
Not working Straight (ignore the discolouration): https://www.dropbox.com/s/pybe3cgxw2k8c48/Walk_2.webm?dl=0

Need to see W2.mov


text:
Premiere issue, frame freezing
I'm on the latest Adobe Premiere CC and I have a pretty solid system I think but I'm still having freezing issues when I'm editing.
Editing System
Windows 10 64bit
i7-5820K 6Core 3.3GHz
EVGA GeForce GTX 970 4GB SSC Gaming ACX 2.0+
16GB DDR4 Ram
512GB Samsung 950 NvME System Drive
Assets are on a Raid 0 Array of 2 5TB Drives
I have a cache drive setup on a Samsung 850 SSD

Everything is fine when I start but as I add effects and video to the sequence it starts to slow down to the point where I have to purge video memory occasionally or it just outright crashes. Nothing major as far as effects. I use the Lumetri color effects a lot and I use Red Giant plugins like the DeNoiser II plugin.
In fact the Denoiser plugin is pretty much useless during editing. I usually add it before rendering. It drives the render time up big time as well.
I'm open to any suggestions for upgrading this machine to make my editing smoother. I thought about adding a NAS to my network and offloading the 5tb drives to that, to archive footage not actively editing. I would then replace that raid0 with a new raid 0 with 4 ssds. Probably only 2tb for actively editing footage but it would speed the read and write speeds up dramatically.
I back everything up to cold storage drives now too.
I will say my CPU does get up to 100% when I'm watching this. I just don't see it getting maxed out on this little stuff but maybe that's the problem. I only work in 1080i5994 currently.
Hopefully I dont have to replace the system as I just bought it last year but it's really annoying trying to edit like this.

Your system should have no trouble working. I'm sure you've set up your "Project Settings" in such a way as to render and playback through your GPU.

So I will try to change that and see if it fixes it. Is the video card too weak?

No. Your system is top notch. You should be able to edit on it, no problems.


text:
Encoding settings in FFMPEG
I have a MKV file with the following encoding settings. I know the file was encoded in Handbrake because it says so in the meta data.
cabac=1
ref=5
deblock=1:0:0
analyse=0x3:0x133
me=umh
subme=9
psy=1
psy_rd=1.00:0.15
mixed_ref=1
me_range=24
chroma_me=1
trellis=2
8x8dct=1
cqm=0
deadzone=21,11
fast_pskip=1
chroma_qp_offset=-4
threads=12
lookahead_threads=1
sliced_threads=0
nr=0
decimate=1
interlaced=0
bluray_compat=0
constrained_intra=0
bframes=5
b_pyramid=2
b_adapt=2
b_bias=0
direct=3
weightb=1
open_gop=0
weightp=2
keyint=240
keyint_min=23
scenecut=40
intra_refresh=0
rc_lookahead=60
rc=crf
mbtree=1
crf=27.0
qcomp=0.60
qpmin=0
qpmax=69
qpstep=4
vbv_maxrate=10000
vbv_bufsize=10000
crf_max=51.0
nal_hrd=none
filler=0
ip_ratio=1.40
aq=1:1.00

I have used FFMPEG for a while, but I am not sure what these settings are, what they do or how I can make FFMPEG encode with the same settings.

All of these parameters are specific to the x264 encoder which is used to produce H.264 streams.
x264 has long since introduced a preset system whereby different permutations of values of these parameters can be set at once using -preset value in FFmpeg, e.g. ffmpeg -i in.mp4 -c:v ibx264 -preset slow out.mp4
AFAICT, the permutation of parameters shown in your file don't match any preset. However, you can set preset to slow, and then override the individual parameters, e.g.
ffmpeg -i in.mp4 -c:v ibx264 -preset slow -x264opts "me=umh:subme=9:psy_rd=1.00:0.15" out.mp4

For a guide to individual parameters, see https://en.wikibooks.org/wiki/MeGUI/x264_Settings.


text:
Kden live window freezes and does not respond?
Hi guys I am just getting started with video editing and I have no previous experience with video editors. I use ubuntu, I have read in a blog post that kden live is the best video opensource video editor. It's freezing up whenever I am trying to use it. Can some one suggest a solution. FYI processor usage - 20%, mem usage - 40%. I have recorded these right at the time the program got stuck. I was looking at project monitor on a secondary display(I do not know if that's causing the issue).

I don't know much about Kden Live specifically, but a lot of times loading freezes are related to issues with either plugins or codecs.  If you just installed it, the most likely problem is probably an issue with codecs not loading.  Without a startup log though it's not really possible to give a better guess as to what is going on (and I'm not sure how you get that from Kden.)

That's always the issue with huge open source software with less support. Do you know any better opensource video editor software that run well on ubuntu?

I'd check and see if DaVinci Resolve works on it.  It isn't open source, but they have a free version.


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replacing audio of a clip after editing on a timeline in Premier Pro CC 2017
I have a clip which I have edited on a timeline, I want to go back to merging a new audio file into the original file. I try merging the audio file into the original file but this creates a new merged clip which does not have the edits.

What do you mean by merged clip? Could you outline the steps you've tried? Maybe include some screenshots of your timeline or export window?

The steps I took:
 - merge good audio with video clip
 - create new sequence and add the new merged audio/video clip
 - export video
 - "Replace footage" of the original video
 - all your edits are now kept and the audio should have changed as well

Your best bet is probably to replace the source of the clip in question with the timeline that has the changed audio.  There should be a "Replace Footage" option or something like that.  I'm only familiar with CS6 though, so I'm a bit out of date on exact specifics in the latest version of CC.


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Possible to stream/append images into an existing mp4?
I've been working on a service that downloads a number of images, saves them to disk, and then uses ffmpeg to create an animation (gif or mp4). This can be fairly intensive in terms of memory and CPU usage.
Are there any methods that would allow me to dynamically append and encode a new image to the animation as they're ready, rather than having to read all of the images at the end and generate the animation at the end?

Didn't you post this at SU few days back? I asked you a couple of Qs: does file size matter? Will you be appending exactly one image, or multiple?

Hey @Mulvya. Nah that was a bit of a different question. The application process as it is now is that the app downloads a variety of sub images and combines them in memory into a single frame. That gets saved out as a png. When all the frames have been generated, a child process is launched that starts ffmpeg with encoding arguments to generate the final animation (MP4 or gif). The idea I'm exploring now is if it's possible to feed each image into an ongoing encoding process rather than waiting until all frames have been retrieved.

So, you wish to keep the ffmpeg process running, or is it ok to generate a MP4 which then gets appended to?

@Mulvya I'm not sure which approach would be better, so your guidance would be very helpful. My concern about appending to a MP4 is that its going to re-encode the previous frames in the MP4 file and cause image quality loss. If that's not the case, then I'd love to hear your thoughts.

Everything is possible!
Let's image, you have a /directory/ per video animation and files like img0001.png, img0002.png. You have 3 ways:

Wait all images, img0001.png, img0002.png ... img0100.png to be in directory, run ffmpeg, get mp4 and remove images (current way)
Write application in C with ffmpeg libraries: wait every single image, decode it in memory, remove from disk immediately and feed to encoder in libavcodec. When you got last image, for example img0100.png, you feed it to encoder and call something like flush() to complete image, so your mp4 will be completed. Drawback of this method is memory consumption - your process will live until all images processed, so if you downloading it long time, process will consume some memory all this time!
You can try to implement same in bash script using pipes:

Here we got any input, list files for example:
`    ls -1 | grep "jpg$" | while read filename; do`

Then unpack images:
`    ffmpeg -v 0 -nostdin -i "$filename" -f rawvideo -s 120x60 -pix_fmt rgb24 - `

And encode it:
`    done | ffmpeg -nostdin -f rawvideo -s 120x60 -r 10 -pix_fmt rgb24 -i - -s 320x240 -vcodec libx264 -y res.mp4`

I think, you got idea.

MP4 is a compressed file structure. Once a compressed file is closed to write, naive attempts to append to it are more likely to corrupt it than append to it.
@Bukkojot got the right idea - extract the file to an uncompressed format, append your images, and recompress the file.  His description is really an optimization of the approach that streams the decompression and recompression phases for existing video in parallel thread, but it illustrates the point.
Since MP4 is a lossy compression, every time you decompress the video for re-rendering you lose quality. I would recommend keeping the uncompressed video in a directory and simply re-rendering the video from scratch with every file you append.

MP4 is not a compressed file structure; it's a container, and it's not stored with any sort of compression. It usually contains bitstreams which encode lossy and compressed representations of their source data. But appending occurs at the packet level and codec internals are only relevant so far as to ensure that the consuming player can correctly display both the original and the appended data. ffmpeg can (sort of) trivially generate a new MP4 from multiple inputs without re-encoding anything. The key hurdle here is for the appendage to match existing codec properties just well enough.

For H.264 in MP4, there are hacks whereby it's possible to append streams which don't need to match i.e. different resolution, profile..etc. Codec ID is set as avc3 but very few players are set to handle such streams.


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What is the colour range of most videos?
Colour range (Limited, Expanded) is something I've only thought of recently, and I'm worried I may have introduced colour banding into some of my videos.
When doing a standard MP4 export from ffmpeg, melt, Handbrake, Openshot, SimpleScreenRecorder, whatever, what will the colour range likely be? I would assume the Full range of 0-255, but seeing as all DVDs and Blu-Rays are Limited, I'm not so sure.
It would also be good to know what range YouTube uses. I'm finding it very difficult to find out much more than "TV = Limited, PC = Full".

Video sources I tend to work with:

Component capture (PS2)
HDMI capture (Xbox 360, laptop)
DVDs
MiniDV AVIs
YouTube videos
Screen recordings
Android phone
Webcam
Sometimes various cameras/camcorders from various price ranges

All Standard Definition content is PAL - I hear NTSC is weaker in terms of colour reproduction but haven't seen any difference myself from eyeballing.

From what I understand, it's the codec you're writing to that matters, not the source.  I don't know how ffmpeg etc work, but Davinci Resolve, which I am familiar with, automatically decides whether to use full data range code value levels or video range based on the codec you're delivering to.  Patrick Inhofer gives a good explanation if you sign up for a free 7 day trial of mixing light.   Video here:  https://mixinglight.com/color-tutorial/data-levels-or-video-levels-how-to-choose-wisely/

@JasonConrad I've never even heard the terms Data Levels and Video Levels before. I guess they're pretty much the same thing. And I'm not giving my billing info just to watch a video - I'll accept a direct link if you have one (as it gives the impression it's just an unlisted YouTube video).

Most videos are limited range i.e. luma goes from 16 to 235, and chroma from 16 to 240.
Unless expressly set, FFmpeg does not scale the range from one to another. Whatever the source is, that's the output.*
However, many inputs don't tag this property in their metadata. So, the output doesn't get tagged either. In that scenario, players tend to assume conventional values. So, a 720p video will get treated as a limited-range BT.709 picture, irrespective of the actual encoding. And some players, especially web ones, don't seem to parse this metadata, and aren't provisioned to adapt to non-default values. So, they will always the treat the input as having conventional encoding.
For safety's sake, HD videos should be encoded to BT.709 Limited range and SD to BT.601 Limited range.
*unless the source only accepts a pixel format whose range is different.


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Is there any free video screen capture applications?
I am trying to find a totally free screen capture application for Windows and MacOS. Is there any free apps that don't put watermark on the video ?

Open Broadcaster Software is a (good)

Free and open source software for video recording and live streaming.
  Download and start streaming quickly and easily on Windows, Mac or
  Linux.

Agree with Gyan that Open Broadcaster Software is probably the best free tool.
Or if you have an ATI videocard you probably have Radeon Software installed which can Record & Stream. Ofcourse you don't have to stream.
Also VLC can do it. It's tucked away beneath: Media tab -> Convert / Save option -> Capture Device.

I'm often using Calipio to record my screen, which is free for up to 20mins of recordings.

The person asks for a totally free software and the one you mention isn't.

Hey Matt, the initial poster doesn't give a lot of information on what he needs it for. If he needs to record short videos it is "totally" free. If he needs it for more than 20mins then you're right.


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How to extract only frames from videos that have certain levels of luminosity / content?
I have a series of high framerate (slow motion) videos and need to extract all frames with content to series of images.
Most of the videos are of electrical events that took place in the dark and just the frames with a certain degree of lighting / actual visual output need to be extracted.  Thus the dark / black frames will not be extracted, but the other frames will be.
Any ideas on how to accomplish this?

Sounds like you need a custom tool to be coded. Do you know AS3, Java, C# or Python? I know those can plug into FFmpeg executable, so you could decode per frame and search for any first pixel of above certain "brightness" then extract range of until black/darker frames.

Don't have time now, but I did a similar task a while back. Will write it up within a day or two. I used ffmpeg.

Wow, that will be quite interesting to see @Mulvya.

Here's the gist of the ffmpeg method: use the blackframe filter to identify frames with a certain amount of non-black content. Use the metadata filter to pass through those frames and discard the rest.
Inspection:
ffmpeg -i in.mp4 -vf blackframe=amount=0:threshold=92 -f null -

The amount (0) in the blackframe parameters refers to the percentage of pixels that have to be below the threshold (92) for the filter to tag it as a black frame. The way we'll using it, it won't matter what the amount is, so keep it at 0.
You will get a readout like this:
[Parsed_blackframe_0 @ 0000000002be5aa0] frame:1 pblack:35 pts:1 t:0.040000 type:I last_keyframe:1
[Parsed_blackframe_0 @ 0000000002be5aa0] frame:2 pblack:35 pts:2 t:0.080000 type:I last_keyframe:2
[Parsed_blackframe_0 @ 0000000002be5aa0] frame:3 pblack:35 pts:3 t:0.120000 type:I last_keyframe:3
[Parsed_blackframe_0 @ 0000000002be5aa0] frame:4 pblack:35 pts:4 t:0.160000 type:I last_keyframe:4
[Parsed_blackframe_0 @ 0000000002be5aa0] frame:5 pblack:34 pts:5 t:0.200000 type:I last_keyframe:5
[Parsed_blackframe_0 @ 0000000002be5aa0] frame:6 pblack:34 pts:6 t:0.240000 type:I last_keyframe:6
[Parsed_blackframe_0 @ 0000000002be5aa0] frame:7 pblack:34 pts:7 t:0.280000 type:I last_keyframe:7
[Parsed_blackframe_0 @ 0000000002be5aa0] frame:8 pblack:34 pts:8 t:0.320000 type:I last_keyframe:8
[Parsed_blackframe_0 @ 0000000002be5aa0] frame:9 pblack:34 pts:9 t:0.360000 type:I last_keyframe:9
[Parsed_blackframe_0 @ 0000000002be5aa0] frame:10 pblack:34 pts:10 t:0.400000 type:I last_keyframe:10

The pblack value indicates that 35% of the pixels in frame 1 had a luminance value below 92 (out of 255, since I ran it on a video with 8-bit luma).
With some trial and error, figure out what threshold and pblack values will identify the frames you want to discard/keep.
Extraction:
With those values, use
ffmpeg -i in.mp4
       -vf "blackframe=amount=0:threshold=X,
            metadata=select:key='lavfi.blackframe.pblack':value=Y:function=less"
       -vsync 0 img%d.jpg

X is the threshold value you calibrated to identify black pixels, and determines the pblack value (out of 100) reported by the blackframe filter. The metadata filter then keeps those frames which have at most Y% of pixels that qualify as black. These frames are then saved as images.

AVISynth is more powerful than using FFMPEG (as suggested by @Mulvya) but I do like the simplicity.
This Webpage from AVISynth's Help demonstrates: http://avisynth.nl/index.php/ConditionalFilter .
Not only will AVISynth allow you to operate on individual frames automatically and manually with various Functions but it can also save to numbered Images if desired.
A fair learning curve is involved but 10's of thousands of examples are available. There are also Plugins available which can skip Frames that are unchanged.
Loading the AVISynth Script into VirtualDub makes for easy viewing and editing.
Once your Script is tweaked perfectly it can be fed to FFMPEG and most other Editors or Compressors to produce a final version.

Regardless, the footage would have to be analyzed/scanned with a first-pass to identify the frames (provided you coded / scripted a tool that would create a N value based on luminance characteristics of each frame- which would then need to be logged to a file).
I would recommend just exporting the footage as a JPG sequence, which is very fast to do.
Then using a program like ACDSEE, which works a lot like Bridge; but has more features and tools; you can sort the images based on luminance; discarding those with levels below an N value.
Also; ACDSEE has a tool to "Find Duplicate Images".
It would thus find all black frames as duplicate images (provided there wasn't any motion); and you could delete those.
Re-import the JPEG sequence as footage; and ignore the errors for missing frames. Then ripple delete the spaces in one swoop.
Lastly; you could export TIF uncompressed as well. Not sure if you're dealing with just 120fps GoPro footage or Uncompressed 4:4:4 RED footage... which you'd want to retain the color depth for down the pipeline corrections.


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FCPX Libraries - Smart Folder (Mac OSX)
Is there a way to create a Smart Folder that contains just FCPX Libraries (.fcpbundle)?
Not sure what parameters to use for the 'Kind is Any' or 'Name Contains' search fields.
Thanks

You can choose "Kind" and set it to "Other" then type "Final Cut Pro Library" into the text field. Like this: