text:
Having trouble with an screen recording saved as AVI from Rylstim Screen Recorder
When I save the recording it produces an AVI. The AVI play perfectly on my computer. When I bring it into Premier though it gets extremely choppy.
The AVI file also won't process on YouTube, I was going to post it for you all to compare.
I'm not sure what could be causing the issue. The Screen Recorder is set to Frame rate of 30. It does have a Codec. I left it on the default Xvid MPEG-4 Codec. Here's a screenshot of the options.

Would changing to one of the other Codec be a possible solution? Or what other options can I try?

The video may look choppy because of the codec you're using. For fun, I recommend trying out your h.264 variant, x264vfw. I know that h.264 is almost ubiquitously used for internet content.
Playback in premiere is extremely variable when it comes to sequence settings, video preview settings, system preferences (such as scratch discs, and optimizing for memory consumption/performance) and also what type of hardware you have (Nvidia GPUs mercury playback v.s. AMDs OpenCL). I recommend checking out this guide on optimizing your premiere experience: http://blogs.adobe.com/aftereffects/2011/02/optimizing-for-performance-adobe-premiere-pro-and-after-effects.html

Nope didn't work. Actually even worse in Premiere.

I was referring to youtube playback, not necessarily premiere. Look into the link I gave you, and also maybe try a different screen capture software for fun. Who knows, maybe the recorder is doing something weird that it isn't making apparent to you.

Ya, I'm looking into other players and reading that link. If you have any screen recording recommendation for Windows feel free to let me know.

I personally use FRAPS for all my screen recording needs but that may not be as feature-rich for desktop recording as you like. Bandicam is one that's often used and OBS has a pretty cool utility for recording anything you want. I think of the two I would try OBS first. It has a nice way to specify what you want recorded (be it a window, monitor, or program) and you have a switch for bitrate to control the file size/in exchange for quality.

I'll look into OBS. Someone else suggested FRAPS but the free version indicates it'll watermark. I may have actually solved this one by trying different Codecs. Microsoft Video 1 works somewhat well.


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Automatically fix luminosity differences between frames
I created timelapse sequence in Adobe Premiere Pro. Unfortunately, source images are not consistent in luminosity (shutter speed slightly differs), which results in "flickering" of the image.
Does Premiere have an option to automatically "fix" this, by averaging luminosity between frames?

http://video.stackexchange.com/questions/10505/premiere-and-image-sequence-correction-problem

http://video.stackexchange.com/questions/3406/correcting-exposure-flickering-in-time-lapse-footage-in-after-effects

http://photo.stackexchange.com/questions/39085/how-to-deal-with-large-exposure-shifts-during-time-lapse

source: Stack Exchange

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

sort: votes


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After Adding a few Clips to the timeline, audio is no longer imported?
I'm using Premiere Pro CC 2014 trial to evaluate if I want to switch from Vegas Pro 2012 to the Adobe Suite. I'm editing a short video I made in Denver, CO this past summer that I shot with two cameras; the Canon 550D, and the DMC-LX5. After adding a few clips to the timeline (approximately 15 or more), every video after that does not have an audio track automatically added but does have a video track. I'm simply dragging and dropping videos to a single sequence. If you play the videos in the project window, they play with audio. What's going on?
Thanks,
Adobe Newb

Can you include a screenshot of your UI?

@AJHenderson Sure, here ya go: http://i.imgur.com/kRIBdeO.jpg

Ok, what about the media info of the clips that aren't working.  I noticed they aren't showing on the left hand side atm, though the actual properties would be even more telling.  For some reason it seems that it isn't recognizing the audio because the timeline itself looks fine.

Those are just two clips that aren't working. Literally every video you place on the timeline afterwards has this issue. In fact, so far in the video, every single file has been from the DMC-LX5, no 550D yet. So every video has had the same audio properties thus far.

Can you try import clips from a different source and see if they have the same error? Also a Mediainfo output would be helpful.
http://mediaarea.net/en/MediaInfo

also, what happens if you try a new timeline.  Can the files be added to any timeline and have audio?  Do the clips that previously worked work if you try adding them again?

@AJHenderson OK, so I'm retarded. It's 550D footage that's getting messed up w/audio because the timeline is set by the DMC-LX5's audio settings. Any way to make the sequence a little less rigorous when it comes to audio settings?

It surprises me that it didn't take care of that automatically.  Does the 550D audio work in a sequence that is setup for it?  Can you post the details of the audio formats for both?

You experience this basically because Adobe changed its functionality on CC version. And this is called Source Patching And Track Targeting.
Solution:
Highlight A1 or A2 in timeline. That is it.

More information about this.
In link find what adobe staff says. https://forums.adobe.com/thread/1422503?tstart=0
A training from adobe.
https://helpx.adobe.com/premiere-pro/using/source-patching-track-targetting.html
A training in youtube.

Adobe has this concept of "target tracks" in the sequence window.  On the left side of the media locked/unlocked icon is the "source patching for inserts and overwrites".  On the right side of the media locked/unlocked icon is the "toggle track targeting for this track".  When off, the track name (such as V1 or V2 or A1 or A2) is gray and when on, it's blue.
Chances are good that you left those targeting features well enough alone, and the Adobe defaults are to indeed enable track targeting for your tracks.  When track targeting is blue for only empty tracks, inserting a new video clip does just what you'd expect: it puts the new video and audio into unused tracks.  However, if targeting is on for tracks that already have audio, then when you go to insert the new clip does what you might not expect: it just overwrites the audio clip of the targeted track and that's that.  It does not create a new track for your audio.  If you've inserted 15 clips, it's quite possible that you have audio only from the last clip you added, and that it overwrote the 14th clip's audio track which overwrote the 13th clip's audio track, etc.
There's an answer on VP as to how to restore the lost audio clips (Adobe Premiere - Restore Audio to A/V Clip After Deleting).  My answer explains how to not do that in the first place.

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


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Are there any video programs to trim and export multiple videos at once?
If I wanted to cut the first 10 seconds off of a handful of videos(12 videos), is there a program that will open all of the videos at once and let me trim the first 10 seconds off of them all at the same time and then export the changes made to those videos all at once?
Instead of having to open each individual video then trim then export and rinse and repeat 11 more times times.

Is 'all at once' a firm requirement, or would it suffice to submit all the videos in a batch to be processed serially with no further action needed? Also, what form are these videos in -- what codec, etc?

I don't know of anything that allows you to specify something like trimming  a certain amount off in batch, but you can do all of the rest with Adobe Media Encoder.

Open AME and drag all of the clips that you'd like to trim into the Queue panel.

Select all of the files in the queue and click on one of the preset links:

Choose a format and preset in the screen that pops up:

When you're done, click OK
Now click on the Preset link for each video and set the in point at 10sec and click OK

Repeat the last step for each of the videos
Click the run button  and all of your videos will be processed while you sip coffee!

If all you're doing is trimming the video, you may want to consider the command line tool ffmpeg.
The -ss flag will allow you to set the in point for your trim. You can also set an out point on with the -t flag.
For example, the following command will take "name_of_movie.mp4", trim the first 10 seconds off, copy the audio and video codecs, and output the file as "name_of_movie_trimmed.mp4"
ffmpeg -i name_of_movie.mp4 -vcodec copy -acodec copy -ss 00:00:10 name_of_movie_trimmed.mp4

This should work for any format that ffmpeg accepts, which is pretty much all of them. If you'd like to script it, here's a starting point that I use for this very purpose. Edit the extensions for the type of file you use, and for the time you want, put it in a directory with the files you want to trim, and let it get to work.
#!/bin/bash
for file in *.mp4; do
name=${file%%[.]*};
ffmpeg -i "$file" -vcodec copy -acodec copy -ss 00:00:10 "$name trimmed.mp4"
done

There's a lot you can do with ffmpeg to automate some of the more tedious parts of working with video, so have a look around!

Other people have already given a very good way to do these things one video at the time. But if, for whatever reason, you definitely need to do everything at once, you can use libav to do that.
Here is the example command with 4 files:
avconv -ss 10 -i 1.webm -ss 10 -i 2.webm -ss 10 -i 3.webm -ss 10 -i 4.webm \
  -map 0:0 -map 0:1 -c:a copy -c:v copy 1.mkv \
  -map 1:0 -map 1:1 -c:a copy -c:v copy 2.mkv \
  -map 2:0 -map 2:1 -c:a copy -c:v copy 3.mkv \
  -map 3:0 -map 3:1 -c:a copy -c:v copy 4.mkv

This assumes that in your files the video and audio streams are always the first two. Since this is not always the case this command can fail if you do not check first.

authors: Валек Винтофкин


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Which PC software does live effects on video from a tethered camera?
Which software for Windows/Mac/Linux allow me to connect a DSLR (any DSLR brand is fine) and see in realtime (and record) the result of passing the live video feed through a filter?

If software is all you're interested in, here are a few options:

Quartz Composer
Pixel Conduit
Resolume
VDMX
Arkaos
Modul8

Personally I've only tried Quartz. It's hugely powerful and free, but the learning curve can be quite steep. It's more of a node programming language for video graphics, that's what makes it so powerful.
Some downsides are that it's not actively developed anymore and that it only runs on OSX.
I'm excited to try Pixel Conduit soon. It seems to be an attempt at a modern version of quartz, and the free version seems pretty powerful.
If you want to record the video as well you might have to look at a separate program called Syphon.
I used a Blackmagic Intensity Extreme box to get the live video from our Sony XDCAMs into my Macbook Pro. I had to use Black Syphon to get the feed from the Blackmagic box and send it into Quartz for live processing.
UPDATE
I've been using Resolume to do exactly that. It works really well and is way more user friendly than Quartz. Though you can also use Quartz in it. Resolume also can record the video to an output file out of the box.
Pixel Conduit didn't seem to have gained much traction unfortunately. So I never used it in a production environment, I only played with it.

A great tool that I personally work with is vvvv. A very mighty visual programming toolkit somewhat comparable to Quartz Composer on Mac but available for Windows (only for Windows for now but future versions might be multi plattform according to the devs).
For getting started I highly recommend this cheat sheet http://vvvv.org/sites/default/files/uploads/dontpanic_45beta25_1_0.pdf
Nice thing is that you can capture video over USB with a few canon DSRLs and don't necessarily need an HDMI capture card.
While you can capture frame with the "Writer" node, usually you would utilize Fraps for capturing the renderer (which can be lossless or in h264)

There isn't any single package to do this for most cameras.  On Canon DSLRs for example, you need EOS Utility to interface with the camera's LivePreview, then need another piece of software to adapt the EOS Utility's feed in to a live video stream that can be operated on by the operating system (such as a Windows Media Capture stream).  Then you need a piece of software to actually apply effects in real time to such a stream.
Alternately, the higher quality/higher budget option is to use something like an HDMI capture device or better yet, an ATEM video mixer to provide hardware assisted capture and alteration of the stream.  This is much more reliable and higher quality since video is pretty intense to work on in real time and specialized hardware does the best job of dealing with it.


text:
VGA Splitter Switch?
I'm looking for switches that can take two VGA inputs, and an audio input from each, and switch between them to one VGA+audio output. Basically, I want to be able to go from one input to another without messing around with cables on the output itself; I just want to be able to flip a switch and be done with it. Somehow, I haven't found a lot of products online that do this. Any recommendations?

You didn't specify keyboard, but sometimes it can be useful to switch USB along with the VGA signal. For this you'd want a KVM.

You are looking for a simple VGA switch.  For example:
http://www.amazon.com/MT-VIKI-VGA-Splitter-Amplifier-MT-15-2AV/dp/B00DRGDDX0/ref=sr_1_7?s=electronics&ie=UTF8&qid=1407127908&sr=1-7&keywords=2-port+vga+switch


text:
Poor Resolution Video ".MOV"
Yesterday, I'd been editing a film for work. I imported the footage from my camera and the clips looked perfectly fine. So I uploaded the clips to Google Drive and then downloaded on my computer and imported these footages to my Linux machine using KDENLive editor. The footage looks all pixelated and it has terrible resolution.
Is there something I can do to fix it? I tried using Handbrake to convert it to another format but even that didn't work.

Welcome to Video Production SE! A MediaInfo (http://mediaarea.net/en/MediaInfo) output of the file would be very helpful.

A screenshot of the pixelated version would also be helpful.

Well, I'll try my best to provide more information but really it's just as it sounds. Literally, it's un-watchable. On iMovie it was HD. Which is strange considering it's the same clip just on a different machine.

@user280902 - yeah, but there are multiple things that can cause that kind of an issue.  We can't recognize what the actual problem is from your description.  But visually, we may be able to recognize it, particularly with the details of the actual video file provided.

Also, how did you export it out of iMovie? Which share settings did you use?

It was my own fault -- when I had exported it, I didn't make sure to export it in full resolution because since it already was, I thought that step was automatic.

Glad you found it, thanks for posting the solution.


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Transcoding during ffmpeg overlay
My question is related to the technicality behind video overlaying. When a 3D object or an image is added to a video sequence as an overlay to render, does ffmpeg fully decode the original sequence to a raw file, then mix the object or image to the desired position and re-encode back to the desired format?.
I'd like to know if this is the process followed by the industry to mix 3D objects, images or other material with generic video contents. Or is there another approach to perform this task.
Your assistance is highly appreciated.
Thanks.

From FFmpeg Documentation – Detailed Description:

ffmpeg calls the libavformat library (containing demuxers) to
  read input files and get packets containing encoded data from them.
  When there are multiple input files, ffmpeg tries to keep them
  synchronized by tracking lowest timestamp on any active input stream.
Encoded packets are then passed to the decoder (unless stream
  copy is selected for the stream). The decoder produces
  uncompressed frames (raw video/PCM audio) which can be processed
  further by filtering. After filtering, the frames are passed to
  the encoder, which encodes them and outputs encoded packets.
  Finally those are passed to the muxer, which writes the encoded
  packets to the output file.

Yes, compositing, as it is known in the industry, involves decoding two or more assets in to video streams and them combining those streams in some way.  The end result is then saved as a new file on render.  There is some variation in when rendering is done though.  Some software can put off rendering for a while to reduce the number of re-encodes required.
For example, if combining two layers of video in After Effects, you can embed the entire composition in to Premiere rather than re-encode the video to a lossy format.  This prevents further generations of loss without having to store the lossless render while working on the video (which would be very large).
Alternately, lossless file formats such as TGA sequences can be used for storing the result of a render without an additional generation of loss (since the render is preserved perfectly.)
The final render still uses the same basic process of using some blending algorithm to combine the pixel data from two or more video streams in to a single stream though and that stream eventually has to be stored again.

Thanks. Are there any tools in the industry that can perform this real time for HD videos?

That's called a keyer, down stream keyer or mask keyer, depending on the situation.  Often a video mixer will also have the functionality.

Is this the way it happens for re-broadcasting streams as well. For example, lets say that you need to add a logo to a stream you get which is already encoded. In that case do we need to fully decode the stream and add the overlay, and then re-encode before transmission?. Many thanks for your help.

In most cases, some stream players may support a logo layer that can be applied for viewing, but generally speaking, the stream is decoded, the alteration is made and it is re-encoded.  You can't change the content of a stream without doing a new encoding, you can only alter the length (clip the video) without re-encoding and even that has some limitations.

Here language of thank you is UPVOTING the answer.


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What is a non-encoding lossless h.264 AVC editor? (other than avidemux which is buggy)
This is actually in reference to mp4 h264 avc shadowplay videos; I've tried avidemux but its buggy, and alternatively I like shotcut's interface but it doesn't have the specialized h264 in/out lossless cutting without encoding like avidemux.

If you specify the bugs you've experienced, it would help. Otherwise your post read a bit like a rant against avidemux.

I know only VideoReDo and SolveigMM Video Splitter, but they are not full-featured video editors. Both are not free.

You can run the encoding through ffmpeg with -crf 0, for Shotcut see instructions in the faq under Where are the log presets, database, and settings stored


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Full-Featured broadcast-level open source Video Editors?
I need edit SxS XDCAM footage for news, is there a full-Featured  broadcast-level open source video editor?
At last need unlinking different audio channels in timeline.

This is really already covered by the existing question on open source video editors.  A quick look at the listed options will show which ones are suitable for broadcast engineering.  Lightworks is probably the most promising.

link to duplicate?


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What is the best way to convert VGA to digital feed efficiently?
I'm looking for a solution that I can get a feed from video projectors' VGA output to a media station (at this moment it is a mac) where I'm capturing camera feed and presentation from the speaker.
As a given prosumer equipments, I'm having a hdmi feed into Blackmagic mini recorder to thunberbolt output. The projector has only outputs to VGA and that is where I'm having the challenge.
My another thought is to have hdmi cable that is long enough from the stage to the media station and using secondary Blackmagic mini recorder to output to Thunderbolt.
Any suggestion other than this?

How far is it from the projector to the Mac?

projector to the mac would be in 10-20 feet. Stage to the mac would be around 100-150feet.

Related for the longer run - https://video.stackexchange.com/questions/2873/whats-the-best-setup-to-transfer-a-digital-or-analog-video-over-100-ft/

VGA related - https://video.stackexchange.com/questions/10827/record-dvi-signal-sxga

Also VGA related - https://video.stackexchange.com/questions/9118/help-with-the-epiphan-vga2usb-frame-grabber/

Your description of the situation isn't particularly clear.  What are the available outputs at the stage?  If you can get a digital feed, that's preferable to going analog.  How would the projector work if you were using an HDMI out at the stage?

@AJHenderson, I'm assuming that laptop at the stage would have 2 outputs, 1 vga/dvi + 1 hdmi. So the projector would get the feed from the vga/dvi. I was just curious to know if there is a better way to run from the projector without going to have 2 separate cables.

if above situation with atleast 1 hdmi output at the stage fails I would have the option of having ability to convert from projector vga output. Thanks for your help


text:
Any tutorials on how to animate a vector hand
seem too be able to find every other body part except a hand animation tutorial
im looking to create a vector animation of a hand performing a pinch and zoom action

I needed a similar animation recently and I gave up on creating the entire animation from scratch. This is what I did instead -
I used a green screen and captured my hand doing the animation on video. For this purpose, it doesn't need to be a production quality green screen setup, I just used a green cloth on a table, a camera on a tripod from above and few lighting sources I had at home. The whole setup took me about half an hour.
The reason this doesn't need to be super quality is because you won't be actually showing this footage, just using it as the base for the masks.
Now, key the green background out as much as possible. If you're lucky and your green screen footage is relatively good, it will be easier and give you better lines to work with. Use various effects like blur, find edges, cartoon, extract and others to give you the lines you need. At worst case, you will be able to get only the contour of the hand, without the inner lines.
Use auto-trace on this to create your animated masks. These masks will be far from usable but it will give you a good base to work with. You now need to go through your composition, fixing the masks and adding the missing lines.
It is still a tedious work but for someone like me who has absolutely no background in animation, it gave pretty good results.


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How to convert video to ogv and webm versions with a high quality result?
What is the best software for mac to convert video to ogv and webm versions with a high quality result?
I have adobe media encoder, is there is a setting or plugin available to do so in there? or another software that lets me control the quality of the final video to get the best quality possible. Many of the conversion programs I have tried are not providing a good quality output. The video is mp4 or mov H.264 1920 x 1080 and over 10 mins in length. Thank you.

I have Premiere/Media Encoder plugins for WebM and Theora (OGV) on GitHub. Check the ReadMe for download links. They're currently in beta.
Brendan

I stand corrected.  Thanks for the great info and for your effort on the project.  Also, thanks for following the self-promotion rules.

Great to see you here on our Stack Exchange! I use and love a lot of your plugins. Looking forward to this one.

Hi Brendan, I downloaded the AdobeOgg plugin and ran into a roadblock during installation. The /Library/Application Support/Adobe/Common/ exists but the Plug-ins/CSX/MediaCore path doesn't. Should I create these folders? Btw, I use Premiere Pro CC on OS X Yosemite (v10.10.4).

If you are comfortable with command line tools, ffmpeg is top notch.

Miro is a good (easy to use) free one
http://www.mirovideoconverter.com/


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Multi-Cam View Disappeared from Premiere CC
I'm relatively new to Premiere CC, and very new to multi-cam editing. Half an hour ago the "multi-camera" view disappeared. That's the view that shows my 2 camera angles, side by side, and one of them is bordered in yellow. It should be to the left of my "composite" image on the top-right, but now there's just a black rectangle.
The footage I'm editing IS a multi-camera sequence.  I DO have "Multi-Camera" selected as the view.
So any ideas how I get it back?

Never mind, I figured it out. Look at the timeline in the picture in my original question. Next to the multi-camera track, the "V1" is not selected. I selected that, and the multi-camera view came back. (I thought the "V1" just indicated which track a clip would be pasted to! Guess not.)

The video track "selection" applies not only to what's being used for multicam, but almost everything, including (most notably) what clips get split when you hit Ctrl + K and, as you already mentioned, where a clip gets pasted after copying. The same is true for the audio clip selection.


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Any way to change properties of subcomp based on parent comp?
I have a dozen 'main' comps which have a bunch of nested comps. I need to create about 30 versions of each main comp, with different colors.
The subcomps are animated shapes, which take their color from a color picker in the main comp.
I would love to avoid having to duplicate all the subcomps 30 times, so I don't have hundreds of copies.
Is there ANY way to allow a nested comp to change based on the comp within which it is nested?
I know there is no "thisComp.parent" option -- since a comp can be nested in many different parents -- but is there a way to "push" a property "down" into a subcomp? Or any clever workaround? Does this make sense?
E.g., main comp "M01" has subcomps "S01a", "S01b", etc. The colors of shapes in S01a etc are based on a color picker in M01.
I want to duplicate M01 to M02, change the color picker value, and have S01a S01b pick up the new color value, without having to duplicate them to S02a, S02b, etc in order to reference M02.
I'm using True Comp Duplicator, which is a lifesave with its 'update expressions' option ... but my project is over 50MB now, with hundreds of comps, and is unwieldly.
(I cannot use a 'change color' effect in the main comp; there are transparencies & blend modes that would get messed up.)

If I understand what your asking correctly there is a way of doing it.
On the subcomp layer in the main comp add a colour expression control effect (Effects > Expression Controls > Color, then control it with an expression so that it's linked to the colour of the colour picker (use the pick whip).
Now in the subcomp itself the colour will be available to expressions if you use the value comp("M01").layer(thisComp.name).effect("Color Control")(1).
Obviously this will only work if your comps have unique names. Note that you can use regular javascript string methods to handle text manipulation in expressions, so things like regular expressions and string.split and number.toString all work.
Note that expressions, especially expressions that reference multiple comps can really slow AE down. I've often found that something that is technically possible with a gazillion expressions is practically unworkable because every time you move the time slider you get the beachball for half an hour. So where you can, try converting the expressions into keyframes, or pre-rendering.

Yeah, that's not what I mean. Imagine a comp called 'Red," within which is nested a comp called 'Circle.' Red has a color picker set to red, and Circle takes its color from Red. Now I want to duplicate Red, call it Blue, and have Circle -- the same Circle precomp, not a copy of it -- become blue when it's nested within 'Blue.' Does that make sense? Apparently it's not possible. Blue would have to be duplicated in order to reference the new parent comp. There is no way for a comp to discover which comp it is nested in.

Oh, I get it. Sounds like a job for scripting.

You can link properties in different compositions by using an expression like this one.
comp("Comp Name").layer("Layer Name")("Property e.g. Transform")("SubProperty e.g. Position")

If the property is more nested you just add another ("sub property") until you reach the property you need, just as you would click through the drop down menus.
Also helpful: VideoCopilot recently released a great free script specializing in pre-comping 3D layers in exactly that way. http://www.videocopilot.net/blog/2014/08/free-script-3d-pre-compose-tutorial/
Edit: Regarding the clarification in the comments about using relative selectors for comps.
Unfortunately not possible per se. You can do it with layers by specifying the index number but a comp doesn't really have a unique parent which makes this rather hard to have a generic selector for comps. If you have a unique procedural naming based on your comp "depth" this might be possible with some advanced expression or maybe script but if you just named them "my cool comp" and "my other cool" comp you can't really make a script for that.

Sorry, I don't see what that has to do with my question. I need a way to 'dynamically' alter properties within a comp based on the comp within which it is nested.

I.e., I cannot use Comp("comp name") because what I really want is Comp.thisComp.parent

Ah so you dont mean dynamically in the sense of changing something in the main comp and affecting something in the sub comp but a way to have relative "paths" in your expressions?

Yeah, pretty much ... like have a subcomp change depending on the comp where it is nested. Apparently not possible ... http://forums.creativecow.net/readpost/227/27710

"relative paths" is a good way to put it.

Edited my answer to include the info about relative pathes.

Just built a separate "Controller"-Comp with a layer and a a color-picker. Link all subcomps to this color-picker in the controller-comp.
Now before rendering each batch of Outputs you only need to alter the one "controller"-comp without having multiple Subcomps.
I know, this way you still cant render all of them at once but it may speed things up...

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


text:
Is it possible to embed VTT subtitles & chapters in webm video?
I have a video in webm format, and two files in webVTT format, chapters and subtitles.
Is it possible to embed this two webVTT file in the webm in order to get only one file ?
webm is a derivative of Matroska, so it's certainly possible. The real question is they will be handled by a program like VLC ?
Thanks in advance !

Edit: It seems that WebM now supports VTT subtitles. See the link below for detailed information.
If you want to add subtitles to a video on a web page, have a look at the HTML5 'track' element. It allows adding subtitles without muxing them into the video container. More details here: https://developer.mozilla.org/en-US/docs/Web/Apps/Fundamentals/Audio_and_video_delivery/Adding_captions_and_subtitles_to_HTML5_video
WebM doesn't support subtitles nor chapters right now so you won't be able to embed them without creating a WebM file that is out of specs.
You will probably want to remux your video into mkv and then convert your VTT subtitles to SRT and mux these into your mkv aswell.
From http://www.webmproject.org/docs/container/

Initial WebM release does not support subtitles.
WHATWG / W3C RFC will release guidance on subtitles and other overlays in HTML5  in the near future. WebM intends to follow
  that guidance. Ref: WebVTT.

I am confused - on that same page they also have a whole chapter about embedding the WebVTT format. Shouldn't this indicate support?

"WebM intends to follow that guidance", which hinted that they will add this feature at some point which they apparently did now.

Is this still relevant?


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One Frame Flash
In Scott Pilgrim VS The World there is this three frame sequence:

The second frame seems to be actually lit much more, not just made brighter by an After Effects adjustment layer.
How was this achieved? Is it a practical lighting effect? Was it shot in RAW and manipulated later?

This is most likely a practical effect accomplished with a photographic flash.  It would just have to be fired on the action at the appropriate time.  Photographic flashes are extremely fast firing and completely discharge in a very small fraction of a second.  Since exposure is a cumulative effect, the majority of the exposure can be accomplished in a fraction of the time the shutter is open for capturing the frame.
This is actually how a particular type of high speed photography works.  In a dark room, the shutter can simply be left open and the exposure occurs during the extremely fast flash, thus achieving a shutter speed that would otherwise not be possible with the camera.
This is a similar kind of thing, but done in a lit seen to give the one frame extra lighting.  The additional highlighting on the shirt of the guy doing the punching is also indicative of the use of a photographic flash or strobe as the lighting on his shirt is completely different from the previous frame and the pattern of light seems to indicate an intensely bright light source (probably a fairly minimally diffused flash or strobe).

This is most likely not a practical effect. In order to achieve this effect practically, one would need a light that is sync'd to the frame rate of the camera to turn on for 1/24 (depending on the framerate) of a second. It sounds...impractical (word jokes!).
You can easily isolate a frame in After Effects by converting you time line to frame rate time signature as opposed to seconds.
Alternatively, you can use the hotkey (ctrl + right/left arrow) to create an animated color correction to do whatever you want. In this case, you would find the brightness/contrast effect, place it on your footage, press the animation icon on the effect, go to the spot you want to be bright, ctrl+right arrow back one frame, create a key frame, crtl+left arrow two frames forward, and create another key frame. You back up one keyframe to where you want the effect to be, crank the brightness and bang, your effect is done. Quite simple.
To answer your question about RAW, it was likely shot in RAW, but that has no impact on how this effect was achieved. You can do the same with heavily compressed h.264 footage.

I know how to do the effect as far as technique goes, but in this instance the shot looks really well lit, shadows and highlights included. Would shooting RAW gain enough information to get all those details?

@hizki Yes, RAW would give you more detail in each shot to color correct with more freedom, notoriously. In all honesty, though, if the effect is 1 frame long you won't even notice detail loss in the shadows or highlights, it simply happens too quickly.

A light wouldn't have to be on for 1/24 of a second, only 1/1,000 of a second.  Exposure is cumulative, so if you use a photography flash, which takes a very small fraction of a second to go off (like 1/1,000 of a second), it will still result in the overall lighting of the frame being altered as the majority of the frame will be exposed by the high intensity burst of light.

@AJHenderson I guess the only issue I see with doing it practically is exposure. To be able to expose for the dark scene and the crazy intense flash would be fairly challenging without losing detail in the shadows or the highlights. Doing this digitally allows you so much more freedom in that area.

@ScottJamesWalter - it's a fill flash, it isn't actually that much more powerful than the exposure used for the full frame, but it is primarily illuminating the foreground that was in dark shadow.  This is not a complex lighting technique, it is typical photographic lighting applied to video.  That said, they did also obviously add some post in that last frame where they added the star around the impact.


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Can I move an imported camera track in Maya without manually changing 500+ keyframes?
I have a match-moved camera track from Nuke but it's in the wrong place in my scene/environment, is it possible to select the camera's track and manipulate it without having to manually edit the 501 keyframes that make up its movement?
Would it be easier to move the whole rest of the scene, or is there an option I missed when creating the track that would orient/position it correctly?

Select your camera, locators (if exported), and anything else from Nuke. Group them all together with ctrl+g and modify that group as a whole.
You can scale uniformly (but not independent axes), rotate, and translate.
Often one trick is to snap the pivot point of the group to a specific reference point (hold down d and v then drag to the reference point, and then snap the group to the corresponding point in your scene (just hold v while dragging). Then rotate and scale to align the rest of the group.
When finished, you can simply unparent anything not animated with shift+p, but animated objects like your camera will need to be baked:
To bake the camera, duplicate it, unparent it, then parent-constrain it to the camera (Animation menu > Constrain > Parent Constraint). Then bake the keyframes (Edit > Keys > Bake Simulation) and you can then delete the constraint and the original camera.

There are options to orient/position the track correctly when solving in Nuke, but it would be beyond the scope of one question to answer that as well. If you ask it separately I'll answer it.

My Maya is a bit rusty, but I know in SoftImage you can make a nested group and then animate or manipulate that group.  Things then animate as the sum total of the nested rotations and translations.  I'm pretty sure that Maya has a similar feature, but I haven't used it in about 10 years.  If you nest the animated camera in such a group, it should then just be a matter of moving that group to reposition the camera entirely.
Additionally, you might also be able to try altering the anchor point position and orientation rather than the actual animated position parameters, though if you aren't careful this can throw off any rotations if you don't have independent anchor and center points or if there are any rotations around the anchor point output by the motion tracking.


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After Effects rendering a video at base 99, but outputs as a 60 one
I've got a composition with only a video that was recorded at 100 fps. Apparently 100 fps is to much for AE, but it deals just fine with 99, which is OK to me.

The composition was set with exactly the same settings as the video. But when I render this, even choosing Best Settings or Current Settings, both with base 99 (Use comp's frame rate option) it outputs a 60 fps video.
I didn't even set 60 anywhere else, I do not know from where it is coming. But the thing is, I need to output it as 100/99 fps.
And if you think, "Why can't you just stay with the original video?" Because this is just a test, and for now it is failing

What is your intent with this test? High frame rate is often used with slow-motion and when one edits slow-motion the output is usually your typical 23.976 or 25 FPS. Why would one need to render at 100 FPS in the first place?

possible duplicate of How to force After Effects to interpret footage at a specific framerate?

@ScottJamesWalter Because, I think that one frame difference may be creating a problem. I am trying to create a slow motion scene. The problem is: when you play the video at normal speed, the sound is ok, synced with the video. However, at slow motion, it is not. Then I've noticed, that even at normal speed, the sound is ahead as it was supposed to be on the timeline, but AE tries to compensate it and pretends it is fine. And 60 fps would not be as good as 100 fps in slow motion.

@ScottJamesWalter I don't think it is a duplicate, as I know which frame rate I am, and which frame rate I am rendering. The problem is, why it is not rendering at the frame rate is was supposed to render. Anyway, that question might help a bit though.

@ScottJamesWalter Just looked at that question, and AE was with a wrong interpretation of some footage frame rate on that, which the picture I uploaded show that this is not the problem. The videos were filmed with a GoPro and were filmed at 100 frames per second .

The answer to that question may help you solve your own issues. Additionally, maybe the README for AE, specifically the framerate section may help you: http://helpx.adobe.com/after-effects/using/importing-interpreting-footage-items.html#frame_rate It sounds like you're using AE is a NLE. How long is this slow motion sequence? When it comes to audio and slow motion, it may not be the best idea to mix the two. I'll leave it to someone with experience to address that issue.

@ScottJamesWalter I know what I am doing. I could done exactly what I want with the 60fps output, and the sound was distorted just as I wanted too. But as said, 60 fps does not look as good as 100 fps in slow motion. My only problem, is that. It is not outputting what I want and what I've setup, and I want to understand why.

You realise that if you output it at 100fps it won't be slow-mo, it will be real time, don't you? You make it slow mo by changing the frame rate, for example taking a 10 second 100fps video and playing it back at a quarter of its speed gives you a 40 second 25fps video.

Since your source is in h264 I'm guessing you are encoding to mp4/h264 again?
The format doesn't support a frame rate of 99, you will have to use a less constrained video codec like mjpeg in an avi or mov container.
Whenever you are violating certain video or audio specs After Effects will tell you that in your export settings like shown here (see the little warning triangle in the left corner). AME doesn't do that for some reason but will show the adjusted settings in the source output info field.

authors: Иван Омельченко


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"A Must have" ND filter stops for filming with Canon 5D Mk2?
The question is - which stops (ND 0.6, ND 0.9.....) are the most frequently used?
I am currently choosing Tiffen ones and since there are plenty of different stops to choose from and I have nearly no experience in using ND filters  - your suggestions would be highly apreciated

Are you stuck on Tiffen? I've read that Hoya ProND are some of the best ND filters you can get. Check out some comparison tests.

There is no "most used".  You use whatever is appropriate for the exposure conditions you have and the desired aperture and shutter speed (and ISO, though turning down ISO is almost always better than using an ND filter if it is an option).  The more light you have, the more wide open the aperture and the slower the shutter speed, the heavier the weight of the ND filter you need.

Thanks for teh answer. let me clarify a bit:
I need my camcorder's setting to be constant at:
exposure 50
aperture: f2.8 (or, as open as posisble...let's say up to f1.4)
iso: 100/160 max
and I am about to shoot in the middle of a brigh sunlit day.

authors: Максимилиан В.


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HEVC binary to MPEG 2TS
I'm trying to convert a HEVC bit stream to MPEG-2 TS using ffmpeg. However I can't seem to perform the task without a wrapper such as mp4. Here is the command I was trying.
ffmpeg -i hevcBitstream.hevc -vcodec copy -acodec copy -vbsf h264_mp4toannexb output_file.ts
What seems to be the problem with this?.
Thanks.

Related: http://superuser.com/questions/678897/extract-hevc-bitstream-with-ffmpeg

Another related, see comment with ffmpeg syntax: http://video.stackexchange.com/a/16643/1871

This seemed to work for me...
ffmpeg -i "video.mp4" -vcodec copy -bsf:v hevc_mp4toannexb -f mpegts output_file.ts

Is really necessary add that filter? Also i tried it with an h264 stream that require the h264 version:
[mpegts @ 03fefac0] H.264 bitstream malformed, no startcode found, use the h264_mp4toannexb bitstream filter (-bsf h264_
mp4toannexb)
If i do it on windows it says he can't find the hevc_mp4toannexb filter.


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Best Sony Vegas Pro 13 videogame footage rendering options for YouTube
In order to practice video montage and Sony Vegas Pro 13 as a hobby, I sometimes record online videogames matches I play so I can edit them and show them to my friends via YouTube.
I used an Adobe Premiere Pro CC "YouTube template" for rendering one 30 minutes video and it weighed about 500 MB.
With Sony Vegas Pro 13, I used the Sony AVC template "Internet 1280x720-30p" and a 12 minutes video weighed 1 GB, which is really impressive to me.
I'm looking for a great 720p rendering option for YouTube on Sony Vegas Pro 13 in order to be able to upload it quickly (I have a pretty bad connection speed). If possible, less than 400 MB for a ~12 min video.
I think 30 frames per seconds is enough for the video I do, 25 FPS may even be enough.
What would you use ?

Possible duplicate of http://video.stackexchange.com/questions/9710/recording-video-games-and-uploading-to-youtube

Some considerations for coding H.264 videos for Youtube. I've created my own Sony Vegas rendering templates following those guidelines:
Bitrate
Youtube recommends a bitrate of at least 5.000kbps for standard, and 30,000kbps for high quality 720p video. 400MB into 12 min corresponds to 4,000kbps, which is close to youtube's minimum recommendation. Select variable bitrate to get the best possible quality. You can play and lower the bitrate as long as the resulting quality is OK for you. But below around 2,000kbps you may want to consider switching to a lower resolution (e.g. 480p)
Framerate
The framerate should match that of your footage. I would not recommend rendering a 30fps video into 25fps or something like that, as the resulting quality will be rather poor. But you can rather safely cut the framerate in half, converting 50fps into 25fps or 60fps into 30fps.
Interlacing
Interlacing is recommended to be off for youtube ("Field order: None (Progressive scan)"), but if your footage is interlaced, I would stick with the same setting.
Profile
Using H.264 codec, youtube recommends using high profile (which improves quality a bit, but increases rendering time). It's OK to switch to "main" if you want to have faster rendering times.
Codec
Finally - you have to decide whether to use Sony AVC or Main Concept AVC. I use Main Concept for no specific reasons. You can find some discussions about that topic here: http://www.sonycreativesoftware.com/Forums/ShowMessage.asp?Forum=4&MessageID=886487 .
What Youtube says:
Here you can find Youtube's encoding recommendations:
https://support.google.com/youtube/answer/1722171

If you want the highest quality, I would probably recommend "Constant Bit Rate" (CBR) as opposed to "Variable Bit Rate" (VBR). VBR only means that the compression will cut out what it thinks is redundant data for the sake of space. CBR sets a specific bit rate, and it sticks to that regardless.

@ScottJamesWalter - CBR is faster to encode, but it does not produce higher quality files for the size, it produces lower quality for the size.  VBR will use less space when it can afford to and more space when it needs to.  It averages the data rate, but allocates space as needed to describe the video at a consistent quality level.  An even further option is to do constant quality encodings where the bitrate is adjusted as needed to maintain a constant quality level (where as VBR will only do so much before it gives up).

@AJHenderson If I use VBR w/a maximum of 50 mbps, and I use CBR w/a bit rate of 50 mbps, it is my understanding that the the CBR encoding will be larger, and if anything, visually identical. Correct?

@ScottJamesWalter if you are comparing a VBR with a Max that is the same as a CBR, the CBR will be better, but the proper configuration of VBR for that would be to set an average of 50 and a max of something probably around 60 to 65, maybe even 70 Mbps.  This will allow the VBR to go up much higher than the CBR (while maintaining a similar file size) when it needs to and it will make up for it by using lower bitrates on parts where not much is going on.


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Can not render After Effects CC project as mp4 / h.264 any more?
I've made a 2 minute video on After Effects CC.
There is no option to save using depreciated formats.
Other answers suggest going to:
Edit -> Preferences -> output -> enable Show Deprecated Formats

however I can't see this checkbox and I assume it has been removed completely now!
All I am looking to do is upload to YouTube but the rendered AVI video is 20GB!
If I set composition resolution to half, and the output also to half the original size I can save it as 5GB but this will still take over 3/4 hours to upload on my connection.
What settings should I be using to get a decent quality video at a small size so I can upload to YouTube??  I don't need HD, but I would like it to be somewhat good quality.
I am also not too familiar with some of the other formats, so I'm a bit lost atm.

Thanks, I wasn't sure where to ask so I had searched for previous questions re AE-CC and ended up on the other site

All Adobe video products are intended to target consumer formats through Adobe Media Encoder since CC 2014, After Effects has almost only intermediate formats now in its internal renderer (which is essentially the exact same thing as the one in AME).
Instead of clicking on "Add to Render Queue" you click on "Add to Media Encoder Queue" and in AME you will have all the formats you had before and even a few more.
This has the advantage that you can continue working on your project while AME is rendering your composition. No need anymore for a background render plugin.

+1. Adobe Media Encoder is great and I use it on a regular basis for exporting from After Effects and Premiere Pro. Another huge plus for using AME is the ability to send large numbers of things to be exported and allowing them to essentially be batch processed in the background.

You can convert a local AVI to .h264 or any other available codec using a program like Handbrake or AVC, or if you're comfortable at the command line, straight ffmpeg.


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How to set up Paid Live Streaming event?
I would like to set up a live class which may take place over a couple of days and I would like to stream it live.
My question is, how do I set it up so it allows access to only people who have paid and registered and is there a way of doing it through Wordpress run website?
I came across a term called PayWalling while doing my research, not sure if that's got something to do with my requirement.
Thanks very much!

It depends on the level of protection you want, but no, there isn't really a good way to do it with Wordpress.  You can paywall a portion of your Wordpress site, but a live stream isn't going to go over HTTP, it is going to run over an RTMP stream or something similar.  Paywalling your Wordpress site will make people pay to find out the name of the RTMP stream, but unless you have some type of authentication on the RTMP stream (or give each user a unique stream link), then you couldn't prevent sharing the link once one person pays.
What you really need is a stream server that provides either login to a stream (and only allows each user to access it once) or you need a stream server that can provide the same stream to multiple URIs and only allow one connection per URI. Both of these effectively do the same thing, they make it so that the connection details provided to a customer only work for that customer.
Alternately, you could use a list of authorized IP addresses and have your website add the IP addresses of paid customers as authorized viewers so that they can access the stream from their location.  In this case, you should automatically update the IP address list whenever they log in.

After a bit of googling for 'paywall upstream' I came across this link. http://publisher.tinypass.com/guide/archives/tipstrick/any-ovp
it might work for you
This is a company that provides a paywall service for streaming

Can you summarize the contents of the link a bit in your own words.  While it may provide a great answer to the question, there is no guarantee that the link will remain active and if it ever goes dead, your answer will then be completely useless as it contains no information of it's own.  Because of this, link only answers have a tendency to be removed.


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Whats the most affordable way to setup a large screen outdoors for live video
My company produces some out door concerts that will have 15-18k people attend. I'd like to setup a video screen next to the stage that I can use to show a video feed of the concert. I don't have a lot to spend on it, but I would be reusing it for other things, so what do you think? I have a switcher that does hdmi and hd-sdi output, so a projector or system would need to use that.
I'm trying to create something, similar to the picture attached.

Size plays a major role in the price. So a rough size estimate of what you need would be helpful to give you an answer.
Rock am Ring has one the largest stages in the world, I'm sure you are not going for exactly the same thing.
A rough estimate of your budget would also help greatly.

"Most affordable" makes this a very difficult question to answer. The way most festivals do it is by hiring large screens. You could try and do it with a projector, which can work okay at night, but not so good in daylight (like a drive-in cinema).
For bright displays there aren't really any shortcuts -

Have a good video platform and desk
Route signal
Use good quality screens

Technology-wise, it is very simple, as you aren't doing anything clever with video.

Any suggestion on renting a rig light that?

Renting will depend on your locale etc. Either google for local companies, or ask an organiser of a festival that uses them in your region.

There isn't an "affordable" option here.  Either you use high intensity light screens or high intensity rear projection with an enclosure around the back side to keep out sunlight.  Either option is looking at tens of thousands of dollars per screen to buy.
I'm not particularly familiar with light screens because they tend to be a lot harder to move than the rear projection units, though if resolution isn't super critical, there are hanging displays that use basically strands of Christmas tree lights as pixels that are pretty portable.
For rear projection, you are probably going to want something in the neighborhood of 15 to 30,000 lumens per screen which is around $30,000 to $60,000 worth of projector, plus the cost of the screen itself which is likely to be several grand as well and also the (relatively speaking cheap) box around it all to block out light from hitting the screen from behind.  These produce excellent quality images, but as you can see, they are anything but cheap.
You may well end up using two or more projectors and stacking them so that the pixels light up.  It is an easy way to get more intensity and you could potentially use a whole rig of smaller projectors, but the more projectors you add, the more complexity you will have in aligning them all for a particular installation and keeping them all properly color balanced.

just asking if a led-matrix as videoscreen would also fit his needs...

@jwacalex probably, I briefly mentioned them but have zero experience actually working with them. I've never seen them used in a mobile setup

Thanks for the thorough answer. What about renting a solution? Either renting the projector or the proj and screen?

@AJHenderson i only have seen them in semi-permanent setups for booths on tradefairs or a greater events e.g.  at wacken open air which was build by leurocom

They are actually pretty great for these things. We use them all the time for huge displays on fairs.
We also worked with leurocom, they do pretty amazing stuff with LEDs.


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Final Cut- How to start audio fade from higher than 0db?
In Final Cut Pro, I drag the fade handle at the beginning of an audio clip to fade in.
However, I want the audio to fade in Starting at -20 and fade up to 0. I don't want it to start from 0.
How can I do this?

If it helps, what I'm trying to do is increase the level of an audio clip several minutes in to it. The clip is playing at -20db because there is narration speaking above the level of the audio. Once the narrator is finished speaking, I want the clip to fade from -20 to 0.
So, I thought I would use the blade tool, split it into 2 audio clips, and on the second put the fade from -20 to 0. If there's a better way, I'm all ears.
Thanks

You need to use keyframes.  It's been a few versions since I used Final Cut, but they are generally represented by a little diamond indicator.  If you add a keyframe at the point you want the level to start increasing and another at the point where you want it to stop increasing, you can then adjust the value at the later point and the volume adjustment should automatically be performed over the time in-between the two keyframes.
More information on audio keyframes in FCPX is available from Apple here.

option-clicking on the volume bar in the audio waveform portion of a clip will create a keyframe.


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Make a video look like it was taken from further away
I have a telephone video recording I would like to edit to make it appear it was taken from further away than it was?

Can you be more specific? You can always scale the video down, though you'll need to fill in around the edges in some manner. Is that what you mean?

When you shoot from further away you use a "longer" lens, in other words a lens with a longer focal length. This has a few effects, that you'll have to fake to make it look real.
First, the perspective tends to get flattened with long lenses. You've probably seen this in the classic cinema trope of a long shot of a crowd walking along a footpath, where everyone seems to be about to step on the heels of the person in front. This is because the angle of view is very shallow, so someone in the foreground is not going to be much bigger than someone in the background. Conversely a wide angle shot has exaggerated perspective. See just about any Public Enemy video where Chuck D and Flavour Flav pop their heads into the camera and get massively bigger than the people in the background, just by moving a few feet.
This perspective  compression is going to be very difficult to fake after the fact, unless you're really good at rotoscoping and compositing.
If you look at the long lens shot you'll also see that there's often a pretty shallow depth of field. This is often used by film makers, like Scorsese in this clip from Taxi Driver to highlight the central character, by racking the focus to follow them.
Now a wide angle lens and a phone lens (for different reasons) have very deep depth of field. So you'll have to selectively blur the foreground and background. However if you do this without matching the geometry of a telephoto lens (the compressed perspective discussed earlier) it's going to look like it's actually teeny-tiny, because it will look like another kind of lens with a shallow depth of field, a macro lens.
Another thing that telephoto lenses do is magnify any camera movement, where small movements are magnified by the narrow field of view. You could fake this by reframing, using a wiggle expression to drive the movement, however it might not necessarily achieve the look you want: If you're shooting telephoto you're unlikely to hand-hold the camera because it would look awful, so you'd lock it down on a tripod - see the shutterstock and Scorsese examples.
So depending on what the subject of your video is, this could be quite a challenge. Of course if your phone has a 4K sensor, you could actually make a telephoto shot out of a wide by just cropping. Of course this reduces your resolution, so it will look pretty ugly on most phones, and obviously you have to compose the shot with all the action in the center.

Practically you can't do this.  The best you can probably do is make it more shaky and grainy.  You could also drop the resolution to make it look like it had been digitally zoomed in.
The reason you can't practically do it is because of perspective.  When you shoot video from close up, the angle of view is much closer.  A small difference in distance to the camera results in a much larger change in size.  People's noses look bigger, their ears look further back, cheeks look puffier and shadows fall differently because you see different angles of the person's face than you would see from further away.  You can't really fake this, you can try by photoshoping every frame extensively, but this would be massively time consuming and the result would still be substantially lower quality than actually using a long lens to shoot from a distance.
The reason the alternative suggestions work is that they bring to mind other triggers people have for language in video that suggests something was taken from far away.  Adding noise or dropping resolution additionally makes it harder to see the perspective issues that say it was shot from up close.  Shaking makes it feel like it was a long lens since smaller movements are noticeable when shooting from further away.  Noise and drop in resolution are typical of digital zooms, which people are also used to seeing.  It won't fool someone who knows what they are looking for, but it will communicate it as a plot device pretty clearly still.


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ffmpeg re-encode libx264 without quailty loss?
According to the documentation for libx264 (h264) encoding, we can use a preset of veryfast, faster, fast, medium, slow, etc.
https://trac.ffmpeg.org/wiki/Encode/H.264

...for constant quality encoding, you will simply save bitrate by
  choosing a slower preset.

So while using constant quality, a slower preset doesn't have any affect on video quality, but it can compress the file size smaller.
This theoretically means it should be possible to take a video compressed with preset "veryfast", and recompress it with "slow"- resulting in a smaller file with no loss of video quality.
Has anyone ever done this or know how it can be done?

I'm not clear why you would compress and recompress -- if 'slow' gives you the size and quality you want, why do it in two steps? What do you think you gain from the original 'veryfast' step?

@JimMack Why do you assume that we are compressing new or original videos? We have have hundreds of older videos that were created with less optimal compression and it would be good to reduce their size now.

You have a misunderstanding of how compression works.  In all but a few specialized types of lossy compression, when you compress something a second time, even in a much higher quality level than previous encodings, you still lose additional quality.
Using a slower encoding from the same original source with constant quality will often produce a smaller file of similar quality, but if you encode the already compressed version over again, you will still always end up with a lower quality video due to second generation quality losses from compressing twice.

I'm curious what are these specialized codecs you mention? I've never seen a lossy codec that would not ditch more information when re-compressing with the same encoding.

@ProfessorSparkles - I forget which, I'm not even sure they are used for video and it is a limited number of things you can do without having further loss of quality.  I'll try doing some digging to find them again.  I know they aren't super commonly used because the compression isn't as good, but I do know they exist.

The important term is idempotence.  Apparently some JPEG and JPEG-2000 implementations actually pull this off for certain re-compressions.  No algorithm does it 100% of the time that I know of, but some are able to do it some of the time.

Just to add a bit to AJ Henderson correct answer.
You do can compress in a lossless way with h264, this is the lossless predictive profile and is achieved by encoding with a CRF setting of 0.
Though while you get lossless h264 compression that way you will endup with a larger file than your source file.
Lossy compression cant be done twice without loosing more information with each iteration, it already says that that in itself, its "lossy" it looses information every time you encode with it, hence only a lossless encoding will preserve all information and that is the CRF 0 setting (which produces huge files).
What your read as constant quality just means you will have a constant bit-rate and x264 wont alter the bitrate in order to preserve more information in certain frames or use less space where it doesn't need as much space to save the given information in the frame.
That being said, if the encodes you have are of a high quality and there aren't any visible artifacts present, you might be fine with re-compressing it, if disk space is of the most importance here. Though you loose information that might be useful for possibly enhancing aspects of the video in the far future that aren't relevant right now.


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Distorting video with live sound
I am starting an art project that requires to create a program (running on my computer) that can be able to distort the image of the video projected according to the sound/noise that a mic captures live.
The distortion is supposed to respond to the duration and intensity of the sound, and I'm not looking for glitch art, I'm looking for a smoother distortion (but my biggest concern is not the way the distortion looks but the appropriate respond to the sound captured by the mic)
Is there anything like this? or do I have to create the program from scratch?

Did this ever come to a reasonable conclusion?

I recommend VVVV also.
You could make a patch that controls many video effects with levels from microphone input.
Take a look at Video Effects and Compositing Tutorials

Basic tutorials and examples on how to use TextureFX nodes to work
  with the same tricks and techniques you could previously achieve only
  in Photoshop or After Effects. And what's best: everything can be
  animated in real-time.

There are several programs available that allow you to do that.
One very popular tool in the live visual industry is MAX (especially Max for Live).
Its a visual programming language to create visuals for live performances that also integrates into a few tools like Ableton Live.
A program that I personally use at work is called vvvv, its a visual programming tool aswell that allows for very complex programs and is more "multipurpose" than MAX and offers a huge collection of add-ons to work with all kinds of peripherals and input devices.
For getting started I highly recommend having a look at this cheat sheet, vvvv has a VERY minimalistic GUI and heavily relies on shortcuts and hidden menus for more advanced settings and features.
Unfortunately only available for Windows but unlike Max its absolutely free to use unless you want to use it commercially, then you have to buy a commercial license (no differnces to the free version, you still just download the same version but have permission to earn money with it).
A also a free solution but only available on Mac would be Quartz Composer which is coming with Xcode. Its also a visual programming language that works in a similar fashion like vvvv and MAX.
E: Another solution would be MadMapper, its more meant for projection mapping but also does video with filters that can react to sound. In can also integrate into Live afaik.

Various VJ software also has a lot of support for things like this.

Indeed, vvvv is actually broadly used in the VJ scene.

There's a variety of software available for live video manipulation, from the minimalistic, developer-oriented vvvv and pd, to the more aesthetically pleasing Max/MSP and Troikatronix Isadora.
I've used each of these in some capacity, and personally I prefer Isadora, as it is more intuitive to use and get a basic patch up and running in a short time than the rest. MAX was originally developed as a modular audio manipulation engine, and MSP was later developed to add video functionality.
vvvv and pd are both very powerful tools, but more suited to procedural content generation or content analysis than direct video manipulation, and they can be considered lacking in terms of an interface. As a result, they have a comparably steep learning curve. However, they are more extensible and versatile than Isadora and Max, and are worth digging into if you can devote the time to it.
I often find that it's possible to play to the strengths of each of these paradigms - for example, there have been many occasions where I've used vvvv and Isadora in tandem; vvvv performing real-time live audio analysis, and sending sync data (in terms of pulses and BPM) via OSC to Isadora, which then performs the video manipulation using these data. This may be worth looking into, if you have the chance.


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How can I make the best quality SD DVD's
I create a lot of DVD image slideshows for people using basic programs like Windows live movie maker. The images used to create the video are very high resolution to begin with but when the DVD is played back on my TV screen they are very poor quality and feature ghosting to some good extent and pixelation.
I have looked into this before and was told that because a DVD is just in SD it will never look any better but then I have to wonder why all movie DVD's are so much higher quality than they ones I have made.
I have used two programs to create the DVD's and the results are both similar:
Windows live movie maker- also has a function to export to a DVD, adding the menu etc. (currently using this).
Cyberlink Powerdirector 12
I need to try and find a resolution to this because the DVD's are embarrassing at the moment and I only have a 26" TV. I can't begin to Imagen how they would look on anything bigger.
What is the best way to make high quality DVD slideshows?

There isn't one.  What you have been told in the past is correct, DVD resolution is very, very limited.  720 by 480 is barely even 1/3 of a megapixel of resolution, which is exceptionally low and will look poor on pretty much any HD display.  There is no solution for going higher quality than this on a DVD that is playable on normal DVD players.
The reason that it is not all that noticeable when you watch a video on DVD is that the information presented over time is not all the same and thus your brain is able to piece together a picture of what things would look like based on successive frames of video.  This makes it seem smoother and clearer than it actually is, but it relies on the content moving.  Static images present no new information in successive frames.
It is possible that you are using a poor quality encoding or too low of a bitrate, but if you are getting very similar results from both programs, it sounds like it is probably just the limitation of SD formats.  (A poor quality encoder or too low of bitrate would result in artifacts being introduced to the image, but photos should require very little bitrate since they are static.)  If you can post a screenshot captured from playing back the DVD on your computer, that might help us better evaluate, but my best guess is that you are just noticing how poor quality DVD actually is.


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Looking for a specific transition for Adobe Premiere
Is it possible (and if yes, how) to create a transition using either Adobe Premiere or After Effects (and maybe import to Premiere then?) which zooms out of the first video displaying multiple videos next to each other (both vertical and horizontal) - like many tiles - and then it should zoom in to the next video. So I am looking for a transition where e.g. 30 videos are displayed (like a gallery) and it's zooming in to the next video until it's size is 100%. I've seen this transition a couple of times already (don't exactly know where) but I just don't know how it's called so I didn't find anything on the internet :/
Edit: not all videos have to be different every time, it's okay if all videos are fixed and only two are dynamic.
Thanks for any help!

This may get down-votes since it's so manual and doesn't have perfect video quality, but I'll offer it anyway.
CREATING THE GENERIC TRANSITION

Bring 30 clips into a project.
Shrink the scale of all of them.
Drag them onto the timeline so they're all playing at the same time.
Position them in a grid.
Export that project in the best possible quality you can.

CREATING THE SPECIFIC TRANSITION

Open the generic transition video in a new project. Place it on the timeline.
Bring in the 2 videos you want to transition between.
Shrink their scales, put them on the timeline, and position them over 2 of the existing videos.
Export that project in the best possibly quality (matching the generic clip).

USING THE SPECIFIC TRANSITION

Import that specific transition into your project.
At the end of the first clip, place the specific transition on the timeline.
Animate the motion of the transition: Start with the scale zoomed in on the "starting" video. Scale back to 100% while moving the clip to center the "ending" video. Scale up (zoom in) on the "ending" video.
When the "ending" video fills the screen, cut the specific transition.
Add the actual "ending" video to the timeline. Trim the left end of the clip to match the right end (last frames) of the clip in the specific transition.

I haven't tried this but in my mind it should work really well.  The video quality will be a bit lower during the transition, but it may not be noticeable - especially in lower-quality environments (like web video) or if the transition is brief (1-2 seconds).

Okay this is definitely a very complex way, but thank you very much anyways for the extensive answer :) I'll give it a try later, thanks!

@Dion There are a lot of steps when it's written out, but I THINK it's actually not too complicated. You make a template, then each time you want to use it you open the template, add 2 clips to it, resave it, and bring it into your project. But like I said I haven't DONE it, only ENVISIONED it, so it may be cumbersome or tricky or a lot of work. I hope not! And I hope it works for you, if no one offers a better solution!

@Dion I should have made a video demonstrating the idea. (But I'm at work right now!)

Nah you don't have to :) I don't have enough time atm. but I'll definitely try it as soon as possible. Thanks again!


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Ripped DVD Video Playback Stutters, original DVD does not
I have a DVD of home video made from a VHS that I'm trying to rip so I can post it to YouTube. I've ripped a couple of videos using both Mac DVDRipper Pro and Handbrake to compare the output after I noticed some stuttering in my first rip. The videos from both apps have stutters in the same spots but the stuttering doesn't exist when I play the disc in DVD Player.
It's not often, sometimes every couple of minutes for just a moment. Other times it will go 5 to 8 minutes without any stutter. I've noticed momentary sound dropping out for these stutters in both QuickTime and in QuickLook, and also just now in VLC. It's nothing major but annoying and something I'd like to fix seeing as the source DVD doesn't have these playback issues.
Could extracting the DVD as a disc image first and ripping that solve the stuttering playback?
I'm ripping from the optical drive in my 27" iMac under Mavericks. Any help would be appreciated.

Have you tried it on different machines or different playback software - quicktime, vlc etc.? It could just be a playback issue on the machine you're using.

I haven't tried it on a different machine but I did try in QuickTime and VLC with the same result. However, I just ripped the DVD again with DVDRemaster 7.0.1 and am not finding any more glitches. Seems to be an issue with Mac DVD Ripper Pro and Handbrake.

It sounds like the framerate of the rip doesn't match the framerate of the DVD. I would check if those match. The QuickTime Inspector can do this or a great tool called MediaInfo.

Thanks. Wouldn't have thought to check that. Using MediaInfo I've checked the frame rates from the DVD and the exported M4V files generated from Mac DVDRipper Pro and Handbrake. I've posted the results here:
http://s29.postimg.org/qra65vnxj/mediainfo_footage_compare.png
The DVD sources are the same and frame rates for the rips match their 29.970 fps. Yet resolutions, bit rates and audio seem to vary not only from rip to rip but from within the same app. Even though the source is exactly the same. I'm very confused.

The ripping procress in your case is not lossless. You are not simply copying the dvd content your are transcoding it into a whole new format. That results in different bitrates, even in the same app.

Something you could try is to copy the VOB files from the DVD and concatenate them all into one MPEG file, then you can see if the original file is corrupted.
Here's how:

open your DVD in Finder, and navigate to the VIDEO_TS folder. Inside will be all the DVD files .BUP, IFS and VOB. The VOB files are the video objects, they're what you want.
Now find which VOB files are your actual content. Look at the file sizes, it will be the larger ones. For each title on the DVD there is a set of VTS_ x_y.VOB files where x is the title number, like 01, 02, 03, and y is the part number. Each title will be composed of one or more VOB files, so for VTS_01 there will be

VTS_01_0.VOB
VTS_01_1.VOB
VTS_01_2.VOB

and so on. You want to join these together (excluding the one numbered zero).

You can use the cat command to copy them to a new file and join them together. Open the Terminal and type cat (make sure you type a space after cat). Then drag the VOB files for each title onto the terminal window, starting at number one - so excluding number 0. It will fill in the path for you. it should look like this:
cat /Volumes/DVD_name/VIDEO_TS/VTS_01_1.VOB /Volumes/DVD_name/VIDEO_TS/VTS_01_2.VOB /Volumes/DVD_name/VIDEO_TS/VTS_01_3.VOB
now we want to send them all to a new file, using the redirection operator >. Type > (the greater than symbol) after the list of VOB files and then type the name of the file you want to create, with a .mpg suffix, eg newvideofile.mpg. By default terminal opens in your home folder, if you want it to write the file somewhere else you have to type in the path. For example to write it to your desktop use ~/Desktop/my_new_video_file.mpg Don't use spaces in the file name, or if you do make sure you put quotes around it.
cat /Volumes/DVD_name/VIDEO_TS/VTS_01_1.VOB /Volumes/DVD_name/VIDEO_TS/VTS_01_2.VOB /Volumes/DVD_name/VIDEO_TS/VTS_01_3.VOB > mynewvideofile.mpg

This will take a while, depending on how large your video files are and how fast your DVD drive is. Once it's done you'll have an mpg file which you can view or transcode.

Thanks so much. I completely forgot about your reply and decided to go back and try your suggestion. I followed your instructions and while Terminal did out put a MPG it was only about 20 seconds long. The file size was 1.49 GB, however, which seems odd for such a short segment. I left Terminal for an hour but saw no further change in file size. I couldn't tell it was still working but I was able to quit the app when I saw no 'cat' process in Activity Monitor. Thanks again but I'll have to try something else or just live with the little glitches.

I just ripped the DVD again with DVDRemaster 7.0.1 and am not finding any more glitches! Seems to be an issue with Mac DVD Ripper Pro (4.1.9) and Handbrake (0.10.1). I even changed Handbrake's settings to match DVDRemaster's as closely as I could but a new rip generated the same glitches. I'm not sure what the problem is but I'm glad I tried DVDRemaster!


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How can I mix a video in Full HD (1920 x 1080) with a vid in HD (1280 x 720)
I'm trying to export a video of Premiere CS6 and I am having some problems... My two cameras record in different size, and when I'm working with the clips on the program, everything looks great and works well, but when I export them, the clips that were for the Full HD camera doesn't looks like in the programe, they are kind of ampliated.
If someone understands what I'm saying and can help me, I would be grateful!
Thanks!!

Could you post a screenshot or describe your problem a little further? Mixing videos of different resolutions of course means that one of than has to be resized, which implies several problems, based on your description it's difficult to determine what exactly you were trying to do and where the problem lies ...

Ampliated sounds bad, but it's not actually a word in English.

@stib - I thought it was a perfectly cromulent word.

Well that ampliated quickly °v°

Either size up the 720p (1280x720) footage to 1080p (1920x1080) or vice versa.

@stib Wiktionary begs to differ: http://en.wiktionary.org/wiki/ampliate#English

I stand corrected. My vocabulary has been ampliated, thank you. Does that mean the OP meant that the footage was stretched?

Dont forget you can also crop to avoid that ampliated look or having to use cromulent words to describe your issue :p

At Premier Pro, see Effect control tab on the top left, select scale. Then you adjust the percentage of size of video match your sequences setting.
If your sequence setting are HD 1280×720 then you 0r FHD 1920×1080p videos all need to scale smaller. Final of your video will be 1280×720. Same to if your sequence setting in FHD then your HD video need to be scale up enlargement, it will blurer the videos, need to add smart sharpen at Effect tab below left to an adjustment layer .


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How can I record audio & video synced with another audio file?
I want to record a drum cover. I have three input sources: a camera, the output of my electronic drum kit (computer registers it as a microphone), and an existing audio file (the song). I want to record myself playing along with the song, and have the resulting audio&video sync up exactly as I was playing it. I'm thinking I want to have a program where I import the song and put it as an audio track, then the program lets me record audio & video while playing back the existing project (namely the audio track).
What's a relatively cheap program that would allow me to do the above? As it is now I have to record the audio & video while I'm listening to the song, then edit the song file in a program to manually sync it with what I recorded, then import that modified song file into the program, which is too much of a pain.

You are over thinking it.  Edit a quick beep in before the audio starts on the song, play the song aloud while you are recording the drums.  Hit one of your drums so that you can see and hear it quickly on the video as well.  Record the audio direct from your drums and have a third track that is the microphone for the camera.  The camera audio track will here both the drums and see the drum hit being used to sync.  Then align the song and the drum track based on those markers in the video editor of your choice.

+1 I do this all the time, but I use a clap so I get both a visual in the video and a spike in the audio so I can align them up.

Basically what you are doing is how you would film a low budget music video.
2/3 sources
sound = band / musician playing live
camera = seeing the band playing live while recording sound all in camera
CD track = from studio or live track
if you can get a sync point on all tracks it does help such as AJ Henderson said hit a drum that the camera can see
I normally use PluralEyes so in my editor (Normally Final cut pro x) put the live video, cd track and recorded track on 3 different tracks in the timeline
export the XML
import into PE and sync, if all goes well it will sync it all up to the tracks.
export back to the editor and remove which ever audio track you dont want or bring the volume down of the track your overlaying etc.
I hope that makes a bit of sense.

There are a couple of software for sync audio and video files. Try out my freeware tool: http://auxmic.com

Seems like a handy tool, but will it work when the audio doesn't match significantly?  The camera will pick up both the thwacks on the drums (but not the actual sound they make since that is electronic) and the music, but it will then have to sync with the completely different sound from the electronic drum feed.  Also, thanks for following the self-promotion guidelines.


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How to reverse these keyframes in Adobe After Effects?
I'm actually new to learning the use of After effects but there's a mistake that I did about the keyframes, I should have placed the last keyframe to the first one which I would like to reverse these keyframes simultaneously so that it can possibly do it quickly, is that possible?
Sorry for the unclear words that I have spoken, here's a screenshot showing what I want to do:

Like to place all of those keyframes horizontally reversed to the left so that the first layer will the first one to move.
Thank you!

Your screenshot is showing layers, not keyframes. Do you want to change your layer order or the order of keyframes in those layers?

Oh sorry! I want to change the order of keyframes in those layers

@bretbardolees - they appear to be single frame layers, there do not appear to be keyframes on those layers.  What are you actually trying to accomplish?  It appears like you are trying to reverse the order of an image sequence that was improperly imported as a bunch of images instead of an image sequence.

Sorry for the bad and unclear words that I've spoken to you, I'm a little bit bad in speaking english anyway, what I want to do is to move those rectangles (I'm not really sure what those use to be called) to the left side in a correct sequence so that I don't have to redo it again from the start, is that possible?

If I understand correctly, you don't want to change "keyframes," you want to reverse the order of the images, so that the ones on the top of the stack appear first, followed by the ones below.
Easiest option:

Delete the images & comp
Reimport by selecting only the 1st image, and make sure to check the box for "image sequence" this should grab all of them in the correct order & make a comp of the group.

Alternative to avoid reimporting:

Select all the layers, from top to bottom.
Hit "Home" to move the Current Time Indicator to 0:00:00
Hit "[" to reset the start of all layers to 0:00:00
With all layers still selected, Right-Click the timeline
Choose "Keyframe Assistant"
Choose "Sequence Layers". Leave "overlap"unchecked.
Hit Enter

The layers should now be sequenced from top to bottom, the next one starting exactly where the previous one ends.

http://www.premiumbeat.com/blog/quick-tip-reversing-layer-order-in-after-effects/
Basically, if you select the last layer first, and then hit shift and select the first layer, then copy them, then delete them, then paste them back in, the layer order will be reversed.


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.mov file choppy when played back in premiere pro cc
I made a screen recording using quicktime, but when I import the video into premier pro cc, the playback is choppy.  In on part of the video I have an object that fades in, when this is viewed in quicktime the fade is very gradual and smooth, but in premiere pro it is choppy as if I only get every other frame of the fade.

Please post some details about the .mov and the Premiere project, including frame rates etc.

This could be a result of a very high resolution video and a slow computer. Try rendering the footage and see if it is still choppy

This is most likely related to glitchiness in the old embedded Quicktime player that was kind of hacked in to 64 bit Premiere.  It can sometimes result in the Quicktime engine grinding to a halt and even completely freeze Premiere.  This is due to the lack of 64 bit support provided for Quicktime for Windows by Apple.  I believe we have another answer that covers it in more detail, but I couldn't find it at the moment.
Either way, the best work around is generally to move the data stream out of the MOV container and move it in to a container that doesn't use the 32 bit Quicktime playback engine if you have problems.  (Not every file seems to have problems for some reason.)

Premiere commonly has issues working with .mov files.  I suggest converting it to an .mp4 file.  You can rename individual files with this extension.  Alternatively, you can use this Python script to convert many files: https://github.com/lys0l/movBaker

I had this problem too. I imported .MOVs created on a Windows platform into Adobe Premiere Pro on a Mac platform. I tried to create .MP4s using this embedded source. The video had horrible stuttering and was unusable. What ultimately worked for me was opening the .MOV in Quicktime on the Mac, then saving it as a .MOV on the Mac, then using Adobe Media Encoder to convert it to a .MP4, then import it into Adobe Premiere. Painful.
You might be able to skip one or more of these steps. It may not be necessary to convert to .MP4 - YMMV.

I found a way to fix this problem if you are here today and accidentally or unknowingly recorded using hevc or having trouble with playback .mov
Download reNamer by den4b and try replacing the .mov file with .m4a (note: .m4a not .mp4) i tried other file format like flv, avi none worked with Premiere
Its been almost 5 years Adobe!
Hope it works for you :)


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How do I author a playable DVD from an MKV file containing MPEG2 video, audio, subtitle and chapter streams?
I'm using MakeMKV to back up my DVD library to MKV files without re-encoding the video or audio streams (since space is cheap, and quality is top priority.)
I'd like to know if there's a tool available (Linux or Windows), or a procedure using a collection of tools, that would allow me to rebuild the folder structure for, or even burn directly, a DVD player-playable DVD from these MKV files. I don't want to have to re-encode the video or audio streams.
Many thanks in advance!

DVD requires more than just the video and audio data streams.  It also needs all the menu and table of contents data to instruct the player on how to play the stream.  As long as the stream is in an appropriate format, there is no reason that a DVD authoring package should have to re-encode the video.  It just needs to take in the stream and rebuild the menu and table of contents information that is needed to tell the DVD player how to play it.

Thank you for your answer. This I know - I was asking for a tool or toolchain to do the appropriate authoring for me.

@snoopy91 - just about any dvd authoring software should handle it.  You don't give enough criteria to recommend one beyond that broad guideline.

You can't rebuild the menu and table of contents from an MKV that only has chapters for the main movie.  If you want to save the original menus and stuff, back up your DVDs to ISO images (or directories of .VOB files).  But you could have a tool that builds a trivial menu that just plays the movie.  Maybe even auto-build subtitle and audio stream selection menus, if you'd rather have that than cycling through audio and sub streams while the movie is playing.


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Stream a dynamic playlist to a RTMP server
My goal is to stream a dynamic playlist of video to Twitch.
The problem is while I stream a file, I don't know which will be the next until the end of the current one.
My playlist is a very simple queue in Redis.
My architecture is basically (pseudo code):
loop
    $current = get_next_video_from_redis_queue()
    ffmpeg $current > twitch
end

It works but my stream player stop/start/buffer between each video so I can't use it, I need to concat videos before streaming them but FFmpeg seems to not be able to do that.
My new idea is to cheat:
ffmpeg udp://127.0.0.1 > Twitch &

loop
    $current = get_next_video_from_redis_queue()
    ffmpeg $current > udp://127.0.0.1
end

It's seems to work but now I need a tons of tests and tunning to have something good.
Before I do that, there is a better way? Maybe with another software?
My only prerequisite is to create a software headless solution.
--Nico

Would it be worth looking into continuously piping the files into a .FFM file in real-time with one instance of FFmpeg and reading from it and pushing to your encoder with another? .FFM files are designed for 'infinite' video segments... :)

It seems only FFserver is able to write in a FFM file, so you suggests to drop the UDP thing and just put a FFserver between my FFmpegs?
I will give it a try tonight but I don't think I will have a true concatenation, I'll tell you :) .
Thanks anyway :) .


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Setup for including commentators in live stream (including monitoring)
I'm currently planning a live stream setup which has to include two commentators. This is a bit of a make shift / low budget production. Our setup will be

Panasonic Mixer with 4 SD Inputs to pre-mix four cameras. The PGM will go into
Blackmagic TV Studio, for additional 2 Cameras + Titles

The resulting PGM will go into the encoder to be streamed.
Now those commentators need to hear the program audio, but not themselves. My first idea was to plug a de-embedder into the PGM output of the TV Studio, feed this audio to the commentators AND into an audio mixer to include the two microphones. The resulting audio will got to the encoder. But I'm pretty sure this will cause a delay through the mixers latency and audio will be out of sync, right?
What is the best way to include the commentators AND get the "clean" audio for them? Remember the BM TV Studio has NO audio output. Only an audio input where I could feed the mics. But then I have no "clean" sound ...
Can anyone offer advice?
Thanks!
thomas

When I first started doing this, I always thought it was better to give them "clean" audio as well. I've since figured out that they want to hear themselves. Also they want to hear each other, so really you do not want a separate feed for them.
Depending on what you are broadcasting, you may not even need the sound from the event.
The only issue you're going to run in with a delay in the video to them commentating is if they are only using the video feed to do it, not the live event going on right there.

I would recommend to make some changes in your system:

add some sound mixer to mix all the mics and create 'intersound'
signal
add a commentators unit for 2-3 commentators and/or guest - it will
solve most of you problems, there are many models from Glensound,
Sonofex, CTP and others
combine intersound with commentators' mix to create 'program sound'
using the same audio mixer
connect it to BM TV Studio audio input, analog-to AES converter may
be required because   BM's device has no analog audio inputs, only
unbalanced AES one.

Combined sound to be embedded into program output using built-in audio embedder. In the simplest case you just can mix sound from commentators unit with camera mics in BM TV Studio.