text:
High losing of quality after rendering sony vegas pro 17
I am rendering a video of resolution 2704 x 1520 of 50 FPS on sony vegas.
Here are the parameters of the videos :

I'm trying to render for a clip video on youtube. However I have an important loss of quality.
Here are my render parameters :

And here pictures of the differences between original video and rendered video :
Rendered :

Original :

It is a just a screenshot but you can see that the colors and the details on the rendered videos are less better.
Does someone have an idea to match the rendered quality and the original video quality?
Thank you
EDIT : I already disabled resampling

I had the same problem over and over again. I've read tons of "good advices" on many forums and watched quite a bit of videos on YT and never found any satisfactory answer that's why I decided never again to come close to this program. Vegas Pro has the best UI and is the most user friendly video editor on the market (I can't speak for Final Cut Pro as I work on a PC) but the rendering quality is among the worst, with a huge degradation of the original videos in the rendering process probably due to crappy codecs which the manufacturer has no idea how to improve. I'll never ever touch Vegas Pro again. Now I'm trying Premiere Pro and the quality of the rendered videos are SUPERB but some basic features (like transitions which I use all the time) are much worse than in any other program I've experienced with which could make Premiere Pro a difficult choice for some.


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Adobe premiere Pro or After effects: is there a way to to programmatically make cuts?
Wondering if there was a way to make an automated cuts programmatically (e.g.) show time ranges [0-1:00, 2:00-2:15, etc..]
If I have a 1 hour long video and I know by time code for each cut and wanted to automate to trim. is there a way to accomplish this?

Both After Effects and Premiere Pro are scriptable using the extendscript API Adobe have provided for them: here are docs for AE and PP. Extendscript is based on Javascript (ES5).
Whether doing it by scripting or by hand is quicker depends on your coding skills and how fast you can learn the quirks of the API.
There is also a visual coding environment for after effects recently released (july 2022) in public beta that might help if you're unfamiliar with JS.

source: Stack Exchange

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

sort: votes


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After Effects: Detect point of intersection between two paths

I have two curves/paths (path A and B) and a null point A that follows path A with an arbitrary speed.
I need a null point B that follows the path B but with a speed dependent to null point A x position. In other words, point B must follow the path B but accordingly to point A x position.
As you see in the image, at time 0 and 1, point B has the x position shared with point A  while point B y position is on the intersection of the vertical axis, passing trough point A, and path B.
I need an expression for null point B position that can do that.
Thank you for your help.

Have you looked at path point expressions?  The video on this page looks like it would get you most of the way there.  https://pixelsandpaths.com/posts/tutorials/path-point-expression-language-in-after-effects/

Hmm.. That's a tricky one.  I can track the red path if I parent both sliders together, but then the x positions go out of sync.  Or I can track the x position of A onto B, but then B doesn't follow its own path correctly.  Bet @stib knows.

Hoped this is useful to you
even if it's quite late

Welcome! Please summarize the contents of the linked GIF in case it becomes unavailable in the future.

OK, I can't do the maths, so I'm going straight to hell for this terrible hack instead:

Make a solid the size of your comp
Make a shape layer containing two curves the shape of Path A and Path B.  Make them have some thickness (a few pixels).
Put the shape layer above the white solid.
Set the white solid to Alpha Invert Track Matte, so two holes are cut in it, using the shape layer to cut them. The shape layer will automatically become invisible.

Put a bright red vertical line behind your white background.  Animate it from left to right.
Add another white solid as the bottom layer, as a background so you can't see the holes.

Pre-comp all of the above.
In your master comp which now contains only your new precomp, use the Tracker to Track Motion on your PreComp.
Track the small red dots that cut through the holes.
Attach both trackers to nulls, etc.
It's really ugly but it works:

Hi tomh, thank you for your help. That will work but i didn't clarify that i need a parametric solution cause i need to create multiple graph very quickly. I already have the expression to let the point A follow the path A. Of course I can use the same expression for point B and path B, but in some way i need to set extra math to make point B aligned to point A on vertical axis during time.

I think with the right use of comps, you could parameterise  this method

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


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How can I subtly blur a car plate?
I need to blur out a car plate on a scene. I already tracked the plate with Mocha and used a mask with Camera Blur but the result is anything but subtle. Everything else on screen is on focus and blurring out just the plate just calls attention to it. Any thoughts?

its a little hard to give advise on this without seeing the clip you edited. is there any way you could share it? (a screenshot i mean)

Replace it with a fictional plate?
Alternatively, track the four corners of the plate where there's just solid background colour.
Apply each of the four tracks to a null (call them Null 1, Null 2, etc).
Make a solid colour layer.
Apply a 4-Color Gradient to the solid.
Set each of the positions of the colours in the "4-Color Gradient" effect to match Nulls 1-4 respectively.
Add the following to each Fill colour in the "4-Color Gradient" effect, so that the colour at the position of each null on the car layer (car.jpg) is sampled and applied to the 4-Colour Gradient:
target = thisComp.layer("car.jpg"); // tells which layer to sample from
colorpicker = thisComp.layer("Null 1");  // Change this to the name of each Null respectively
target.sampleImage(target.fromWorld(colorpicker.position), [0.5,0.5], true, time) // Changes the fill colour to match the colour beneath the null

Mask out the solid layer to obscure the number plate.
Feather the mask.
Add a bit of noise / Match Grain to the solid layer.


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FFMPEG: Video format replacement for webm (alpha channel)
I am currently creating a webm file using two mp4's (alpha - black background, white silthoette) and normal video.
Using following ffmpeg command:
ffmpeg -i color.mp4 -i alpha.mp4 \
       -filter_complex [0][1]alphamerge,format=yuva420p \
       -c:v libvpx -strict -2 -auto-alt-ref 0 \
       output.webm

And while this works fine for most browsers, it doesn't work on iOS, so I need to create a .mov (or maybe something else?) file with transparent background.
What is the proper way to do it in ffmpeg?

Can you try using the following:
ffmpeg -hide_banner -y -i color.mp4 -i alpha.mp4 \
   -shortest -filter_complex [0:v][1:v]alphamerge -map \
   0:a:0 output.webm

As it’s currently written, your answer is unclear. Please [edit] to add additional details that will help others understand how this addresses the question asked. You can find more information on how to write good answers in the help center.


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AE Animation Bad Quality on YouTube
I've created an animation in After Effects, and dynamic linked the composition into Premiere for audio editing. Then I exported from PR using Media Encoder. The exported file looks good, but when uploaded to YouTube, it looks considerably more pixelated. I know this is a common issue for YouTube, but the problem is even more noticeable when working with animations.
I've experimented with:
Cineform,
ProRes 422 HQ, ProRes 422
Quicktime with the Animation codec
Render Queue PNG Sequence to ProRes 422 in ME
H.265 4K UHD
H.265 looks slightly better in 2160P on YouTube, but 1440p and lower looks bad. Plus most users' players won't default to 2160P and I don't want them to have to manually select it.
My compositon is 1920 x 1080, 23.976 FPS, square pixels.
Are there settings I'm missing? Could my dynamic link workflow be affecting the export? I'm pretty stumped and I want to keep making animations for YouTube, so any advice is greatly appreciated!

Have you read the Related questions on the right, especially https://video.stackexchange.com/questions/10128/ which seems to give a useful answer?

@DrMayhem, that was helpful. I noticed changing to high profile seemed to help a little, although the compression is still there. But at this point I assume there's really no way to get around YouTube's compression, it just is what it is.

Are all your colours & brightness levels broadcast safe?  Might be worth checking the Lumetri scopes in Premiere, to check nothing is going over into areas which can't be represented well in video codecs?


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Trying to identify specific VHS filters used here

A slightly blurry VHS filter:

And a screenshot from a puppetcombo game called murderhouse. They seem to have blue-yellow accents and are slightly blurry.
Thanks

I think this is chromatic aberation. On original VHS it comes from the way the colour signals are stored at lower fidelity than the luminance signals:
https://en.wikipedia.org/wiki/VHS#Video_recording

VHS tapes have approximately 3 MHz of video bandwidth and 400 kHz of chroma bandwidth, which is lower than the 6 MHz in NTSC broadcasts, and the 5 MHz in Type C videotape. The luminance (black and white) portion of the video is recorded as a frequency modulated, with a down-converted "color under" chroma (color) signal recorded directly at the baseband.

You can generate something similar by separating out the red, green, and blue channels of your image, then messing with them, by distorting, blurring, or adding noise to them, then recombining them.  There are lots of plugins that can do this - these two are good examples for After Effects / Premiere:

https://aescripts.com/bad-tv/
https://www.maxon.net/en/red-giant-complete/universe/vhs


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FFMPEG conversion failed at random times on live stream to youtube
I am running a bash script using ubuntu server on arm64 that live streams video and audio to youtube, heres the script below
#! /bin/bash

VBR="8000k"
FPS="24"
QUAL="superfast"

YOUTUBE_URL="rtmp://a.rtmp.youtube.com/live2"
KEY="****"

VIDEO_SOURCE="/mnt/disk1/test/****"

AUDIO_SOURCE="****"

ffmpeg \
    -re -f lavfi -i "movie=filename=$VIDEO_SOURCE:loop=0, setpts=N/(FRAME_RATE*TB)" \
    -thread_queue_size 512 -i "$AUDIO_SOURCE" \
    -map 0:v:0 -map 1:a:0 \
    -map_metadata:g 1:g \
    -vcodec libx264 -pix_fmt yuv420p -preset $QUAL -r $FPS -g $(($FPS * 2)) -b:v $VBR \
    -acodec libmp3lame -ar 44100 -threads 4 -qscale:v 3 -b:a 320000 -bufsize 512k \
    -report -loglevel fatal -nostats  \
    -f flv "$YOUTUBE_URL/$KEY"

The stream works fine, however after a seemingly random period of time, I get a conversion failed error
first after 64 hours of streaming
second after 12 hours of streaming
third after 8 hours of streaming
fourth after 112 hours
The server itsef is fine, cpu and memory usage are extremly low and there are no spikes
from what i can guess the error has something to do with libx264 judging by the error logs, although I do not really know. After some guidance on what to do try next. Here is the tail end of the ffmpeg log report
[libx264 @ 0xaaab23ad3e30] frame=1351975 QP=16.89 NAL=2 Slice:P Poc:14  I:6461 P:1224 SKIP:475  size=26602 bytes
av_interleaved_write_frame(): Broken pipe
No more output streams to write to, finishing.
[libx264 @ 0xaaab23ad3e30] frame=1351976 QP=17.90 NAL=2 Slice:B Poc:10  I:2395 P:3322 SKIP:2443 size=20127 bytes
[libx264 @ 0xaaab23ad3e30] frame=1351977 QP=17.89 NAL=0 Slice:B Poc:12  I:1848 P:3235 SKIP:3077 size=17313 bytes
[libx264 @ 0xaaab23ad3e30] frame=1351978 QP=15.65 NAL=2 Slice:P Poc:22  I:6458 P:1171 SKIP:531  size=26073 bytes
[libx264 @ 0xaaab23ad3e30] frame=1351979 QP=17.19 NAL=2 Slice:B Poc:18  I:2766 P:3514 SKIP:1880 size=19633 bytes
[libx264 @ 0xaaab23ad3e30] frame=1351980 QP=18.35 NAL=0 Slice:B Poc:16  I:1233 P:2876 SKIP:4051 size=11769 bytes
[libx264 @ 0xaaab23ad3e30] frame=1351981 QP=17.28 NAL=0 Slice:B Poc:20  I:822  P:3197 SKIP:4141 size=10699 bytes
[libx264 @ 0xaaab23ad3e30] frame=1351982 QP=17.08 NAL=2 Slice:P Poc:30  I:6351 P:1443 SKIP:366  size=29120 bytes
[libx264 @ 0xaaab23ad3e30] frame=1351983 QP=17.29 NAL=2 Slice:B Poc:26  I:2060 P:4211 SKIP:1889 size=18465 bytes
[libx264 @ 0xaaab23ad3e30] frame=1351984 QP=18.00 NAL=0 Slice:B Poc:24  I:472  P:3225 SKIP:4463 size=8893 bytes
[libx264 @ 0xaaab23ad3e30] frame=1351985 QP=17.98 NAL=0 Slice:B Poc:28  I:1339 P:3681 SKIP:3140 size=13378 bytes
[libx264 @ 0xaaab23ad3e30] frame=1351986 QP=15.57 NAL=2 Slice:P Poc:32  I:6270 P:1584 SKIP:306  size=33703 bytes
av_interleaved_write_frame(): Broken pipe
[libmp3lame @ 0xaaab23ac06f0] Trying to remove 47 more samples than there are in the queue
[flv @ 0xaaab23ad2ff0] Failed to update header with correct duration.
[flv @ 0xaaab23ad2ff0] Failed to update header with correct filesize.
Error writing trailer of rtmp://a.rtmp.youtube.com/live2/****: Broken pipe
frame=1351987 fps= 24 q=22.0 Lsize=37296521kB time=15:38:52.22 bitrate=5423.8kbits/s dup=0 drop=56332 speed=   1x
video:35035969kB audio:2200479kB subtitle:0kB other streams:0kB global headers:0kB muxing overhead: 0.161329%
Input file #0 (movie=filename=/mnt/disk1/test/****.mp4:loop=0, setpts=N/(FRAME_RATE*TB)):
  Input stream #0:0 (video): 1408319 packets read (4380435417600 bytes); 1408319 frames decoded;
  Total: 1408319 packets (4380435417600 bytes) demuxed
Input file #1 (https://****.mp3):
  Input stream #1:0 (audio): 2156470 packets read (901316441 bytes); 2156470 frames decoded (2484253440 samples);
  Total: 2156470 packets (901316441 bytes) demuxed
Output file #0 (rtmp://a.rtmp.youtube.com/live2/****):
  Output stream #0:0 (video): 1351987 frames encoded; 1351976 packets muxed (35876832486 bytes);
  Output stream #0:1 (audio): 2156470 frames encoded (2484253440 samples); 2156469 packets muxed (2253290057 bytes);
  Total: 3508445 packets (38130122543 bytes) muxed
3564789 frames successfully decoded, 0 decoding errors
[AVIOContext @ 0xaaab23ac4ef0] Statistics: 0 seeks, 3823215 writeouts
[rtmp @ 0xaaab23dab6a0] UnPublishing stream...
[rtmp @ 0xaaab23dab6a0] Deleting stream...
[libx264 @ 0xaaab23ad3e30] frame I:53166 Avg QP:16.31  size: 39514
[libx264 @ 0xaaab23ad3e30] frame P:500115 Avg QP:17.79  size: 32831
[libx264 @ 0xaaab23ad3e30] frame B:798706 Avg QP:19.67  size: 21732
[libx264 @ 0xaaab23ad3e30] consecutive B-frames: 13.9% 15.2% 20.2% 50.7%
[libx264 @ 0xaaab23ad3e30] mb I  I16..4: 45.9% 44.7%  9.4%
[libx264 @ 0xaaab23ad3e30] mb P  I16..4: 40.6% 37.1%  2.2%  P16..4: 16.5%  0.0%  0.0%  0.0%  0.0%    skip: 3.7%
[libx264 @ 0xaaab23ad3e30] mb B  I16..4: 16.3% 16.2%  0.2%  B16..8: 25.0%  0.0%  0.0%  direct:19.7%  skip:22.5%  L0:48.7% L1:48.4% BI: 2.9%
[libx264 @ 0xaaab23ad3e30] 8x8 transform intra:47.5% inter:31.9%
[libx264 @ 0xaaab23ad3e30] coded y,uvDC,uvAC intra: 15.8% 78.7% 25.0% inter: 2.0% 60.3% 1.8%
[libx264 @ 0xaaab23ad3e30] i16 v,h,dc,p: 50% 20%  9% 21%
[libx264 @ 0xaaab23ad3e30] i8 v,h,dc,ddl,ddr,vr,hd,vl,hu: 19% 16% 31%  4%  7%  5%  5%  6%  6%
[libx264 @ 0xaaab23ad3e30] i4 v,h,dc,ddl,ddr,vr,hd,vl,hu: 36% 20% 33%  2%  2%  2%  1%  2%  2%
[libx264 @ 0xaaab23ad3e30] i8c dc,h,v,p: 29% 18% 18% 35%
[libx264 @ 0xaaab23ad3e30] Weighted P-Frames: Y:3.0% UV:2.2%
[libx264 @ 0xaaab23ad3e30] kb/s:5095.01
[AVIOContext @ 0xaaab22460eb0] Statistics: 42281852862 bytes read, 2731 seeks
[AVIOContext @ 0xaaab23ac4de0] Statistics: 901390389 bytes read, 0 seeks
Conversion failed!


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FFMPEG concat two video together but one plays back in a slower speed
I am trying to concatenate two videos using FFMPEG concat. The second video plays a slower speed and loses it's audio, but not only that, the time elapsed counter in the windows video player also slows down. When I play it in VLC, the timing is fine but the audio is still missing. I have searched many articles but can not find an answer. I'd prefer not to re-encode the videos. I am trying to make a tiktok compilation so I download the tiktoks and then use ffmpeg to create it. I am using win 10 and running it in cmd. Thank you for your help in advance and let me know if I can clarify anything here.
To explain this effect better please view the video. Notice how the timer counts slowly
https://youtube.com/shorts/k6QD_oqTRyE?feature=share
What I have done is used the ffprobe to compare the details of the videos since they are both 30 fps, mp4 files, same size, and tbn.
Video 1  Stream #0:0[0x1](und): Video: h264 (High) (avc1 / 0x31637661), yuv420p(tv, smpte170m/bt470bg/smpte170m, progressive), 1024x576 [SAR 1:1 DAR 16:9], 622 kb/s, 30 fps, 30 tbr, 15360 tbn (default)
Video 2
Stream #0:0[0x1](und): Video: h264 (High) (avc1 / 0x31637661), yuv420p(tv, bt709, progressive), 1024x576 [SAR 1:1 DAR 16:9], 760 kb/s, 30 fps, 30 tbr, 15360 tbn (default)
Output video
Stream #0:0[0x1](und): Video: h264 (High) (avc1 / 0x31637661), yuv420p(tv, bt709, progressive), 1024x576 [SAR 1:1 DAR 16:9], 655 kb/s, 29.92 fps, 30 tbr, 15360 tbn (default)
This is my code for concat
 ffmpeg -f concat -safe 0 -i mylist.txt -c copy output.mp4
And this is the code during the concat process

libavutil      57. 24.101 / 57. 24.101
libavcodec     59. 25.100 / 59. 25.100
libavformat    59. 20.101 / 59. 20.101
libavdevice    59.  6.100 / 59.  6.100
libavfilter     8. 29.100 /  8. 29.100
libswscale      6.  6.100 /  6.  6.100
libswresample   4.  6.100 /  4.  6.100
libpostproc    56.  5.100 / 56.  5.100
[mov,mp4,m4a,3gp,3g2,mj2 @ 000002a98ca76880] Auto-inserting h264_mp4toannexb bitstream filter
Input #0, concat, from 'mylist.txt':
Duration: N/A, start: 0.000000, bitrate: 792 kb/s
Stream #0:0(und): Video: h264 (High) (avc1 / 0x31637661), yuv420p(tv, bt709, progressive), 1024x576 [SAR 1:1 DAR 16:9], 760 kb/s, 30 fps, 30 tbr, 15360 tbn
Metadata:
handler_name    : VideoHandler
vendor_id       : [0][0][0][0]
Stream #0:1(und): Audio: aac (HE-AACv2) (mp4a / 0x6134706D), 44100 Hz, stereo, fltp, 32 kb/s
Metadata:
handler_name    : SoundHandler
vendor_id       : [0][0][0][0]
Output #0, mp4, to 'output.mp4':
Metadata:
encoder         : Lavf59.20.101
Stream #0:0(und): Video: h264 (High) (avc1 / 0x31637661), yuv420p(tv, bt709, progressive), 1024x576 [SAR 1:1 DAR 16:9], q=2-31, 760 kb/s, 30 fps, 30 tbr, 15360 tbn
Metadata:
handler_name    : VideoHandler
vendor_id       : [0][0][0][0]
Stream #0:1(und): Audio: aac (HE-AACv2) (mp4a / 0x6134706D), 44100 Hz, stereo, fltp, 32 kb/s
Metadata:
handler_name    : SoundHandler
vendor_id       : [0][0][0][0]
Stream mapping:
Stream #0:0 -> #0:0 (copy)
Stream #0:1 -> #0:1 (copy)
Press [q] to stop, [?] for help
[mov,mp4,m4a,3gp,3g2,mj2 @ 000002a98ca89380] Auto-inserting h264_mp4toannexb bitstream filter
frame= 1737 fps=0.0 q=-1.0 Lsize=    5442kB time=00:00:58.14 bitrate= 766.8kbits/s speed= 989x
video:4647kB audio:736kB subtitle:0kB other streams:0kB global headers:0kB muxing overhead: 1.084181%


text:
Enable / Disable Blur Effect On Timestamp
I am using Davinci Resolve to cut and edit dashcam videos. I use power windows and nodes to blur out tracked license plates. However, in many occasions, I need the blur to be active / deactive on certain times (eg when the car is too far gone).
How can I achieve that result with Davinci?

so my understanding is when a license plate goes out of frame and comes back into frame the blur is gone? if this is the case, i would either manually keyframe the power window or just use fusion (using the planar tracking node, a mask node, and a blur node)


text:
How to intensify color white in a video
I'm doing a physics project and I measured the movement of some white spots on a field of wheat. Basically due to turbulence, there are spots with more intense wind and with wheat you see a white spot traveling. The issue is that in my video I have green grass with light white spots and I want to make those spots clearer, so they are easier to see in my video and make measurements based on it. How could I do it ?

What video software do you have available and what kind of computer are you using?

Davinci Resolve is what i would recommend to you. It has very powerful color correction and its free. I don't have access to a computer at the moment so i cant walk you through it right now but i would suggest you learn how to use color windows with davinci resolve and adjust the highlights of a clip


text:
H264 AVC codec Baseline@L3.1 vs High@L4.2
When I convert a video with ffmpeg, and use mediaInfo to review the metadata, I see the followings for the video codec:
Format : AVC
Format/Info : Advanced Video Codec
Format profile : Baseline@L3.1
Format settings : 1 Ref Frames

Whereas for some other videos, mediaInfo shows this:
Format : AVC
Format/Info : Advanced Video Codec
Format profile : High@L4.2
Format settings : CABAC / 4 Ref Frames

What are the differences between these two profiles and settings? Do they have any effects on the compression ratio/file sizes? Any pros/cons? My goal is to reduce the video file sizes at much as possible with negligible quality degradation.

More ref frames = better compression. Higher profile = better compression.

How about quality? Encoding execution time?


text:
fusion title not showing after importing as davinci resolve archive from another computer
I have a project that I made on my laptop and am moving to my computer for rendering but the text isn't showing up. I look in the fusion page and its something wrong with the keyframe stretcher node

I would just remake all the text but there is way too much of this title to do that
I tried to make all of it a compound clip and export it as an archive again but that didn't work either. is this a glitch or something I can fix? i would supply the archive but seeing as its 12 GB, I don't think that's something i can do.

I found this question when doing a search as I was running into the same exact problem the OP described. I tried the suggestion from Jason in his reply, but it didn't work for me.
I was able to solve the problem though. After some digging, I discovered it was an unusual issue with the font I was using! (Note that both systems below are Windows 10)
I was using the "Arial Rounded MT Bold" font with the Fusion titles as it's easy to read and scales well when resizing the video (shot and edited in UHD, will be streamed in 1080 and also delivered on DVD, so that was an important factor).
On the computer I created the project, that font had a style of "Bold" as the only listing in the drop down below the font name in the title's Controls panel.
On the computer I transferred the archived project to, the same font had only the style of "Regular" listed instead of "Bold". I found that I could fix the problem with the title and the keyframe stretcher if I went into the Controls panel for the title and updated the selection of "Regular" for the font (while it already showed "Regular" selected, I had to select it again).
I wasn't going to do this on every title I had placed on the timeline (they were informational pop-ups on an instructional video and there were quite a few), so I inspected the font itself on both systems and found that the original system was v1.50, while the other system showed v1.51. While unusual, this might account for the differences I was seeing.
So, I uninstalled the v1.51 font on the second system and copied the v1.50 over, installed it and then rebooted. The font now showed a style of "Bold" rather than "Regular".
This solved the problem and all the titles on the timeline work now, as well as the template I had copied over for the title!
While this kind of problem might normally be caused by a missing font or a missing font style for the font family being used, this was a case of a single font in a single style where the version of the font was at issue and was only fixed by reverting to the version the Fusion template was expecting.
James
Note- it's possible that simply making a copy of the TTF file for "Arial Rounded MT Bold" in the Windows font directory, uninstalling the font and then re-installing the same font using the copy might work, but I didn't try this and didn't think of it until afterwards. If you try it, let me know if it worked as this problem might have been a bad install of the font initially rather than a version crash.

Make sure all of the file paths in the new project reflect their new location on the new machine.  If the name of the root directory’s changed, or if they were on a network drive and now have a different relative path, fusion won’t know where to find them.  Since you can copy fusion nodes as plain text, you can use most capable text editors to “find and replace” old file paths with new ones.  Then copy and paste the altered text back into fusion, and it’ll appear as nodes.  Wire it up, and everything should work as it did before.
In case it’s the cache that’s confused about new file paths, you should also probably clear all caches for both fusion and resolve.


text:
FFMPEG: Why can't I work in frames instead of HH:MM:SS?
I have a video-only stream that I removed the audio from without re-encoding. The video information is as follows.
hevc (Main 10), yuv420p10le(tv, bt2020nc/bt2020/smpte2084), 3840x1608
Frame information is as such:
23.98 fps, 23.98 tbr, 1k tbn, 23.98 tbc (default).
I understand that this is already in a compressed format, so my goal is to prevent any further generational loss/not re-encoding in this process. I am trying to cut the video stream into clips, between actual video frames, to get frame-accurate clips.
I am only used to working with video sequences as lossless frames stored inside of directories, I am not used to working with actual streams or containers or anything of the sort. This concept of multiple types of frames and all the inter-frame-trickery that the containers/compression applies is 100% lost on me and I absolutely do not understand it at all.
I don't understand how I can use s to go forward one frame in ffplay, but I can't specify or work in frames directly to FFMPEG? How does it know what "forward one frame" is if the output of ffplay can't even give me discrete frames to reference for trimming? That's literally all I'm trying to do.
What I read so far about this just says stuff along the lines of "divide the framerate by the time, then trim with that converted non-integer" -- in which every single thread that advocated for this ultimately turned back to the nature of my question, or is answered with "what do you mean by frame?" -- I don't know, what does FFMPEG mean by NUMBER_OF_FRAMES-eng: 19295? -- That's the grid I want to work with.. the fully-quantized one made up of tangible frames.. and do so without re-encoding or incurring generational losses.
Any clarifying information is greatly appreciated.

See https://stackoverflow.com/a/43563520/

Thank you, that helps somewhat. I also found this reddit post which may help me do what I'm trying to do. I'll use the ffplay overlays to get the right time codes. Do you happen to know if using the "s" shortcut in ffplay jumps to a proper keyframe?
https://www.reddit.com/r/ffmpeg/comments/juiu8v/split_an_mp4_along_keyframes_without_reencoding/


text:
How to extend short logotype to full logo in After Effects?
I'm a beginner in AE I'd like to create a similar effect to this example but I'm not quite sure how to achieve the smooth transition from 'FU' to a full title. Do you have any suggestions?

This is a transition between a few layers of text and some shapes, probably with an Invert effect placed over all of it as an Adjustment Layer.
The smoothness comes from the animating of the motion as curves.
This is a great free beginner's course to After Effects (even though it's quite old):
https://www.videocopilot.net/basic/


text:
How to achieve a smooth slide in transition in Premiere?
I'm a beginner in video editing and I would like to apply a similar transition to my project. Do you have any suggestions on how to do it in the best way?
I have tried to use After Effects but I am not sure which program will do better.

(The animation above is at 15fps to reduce file size, so won't playback smoothly).
The example you've shown looks as though it might be from a web page, in which case it might have been made using CSS animations.
If you want to make something similar using After Effects, you can animate it like this:
Make a layer of text, centre it on the screen.
Right click on the position control on the text layer and check "Separate Dimensions".  This makes it easier to only animate the horizontal (x-axis) position of your text, especially when working with Curves (see below).
Animate your position keyframe, so that it begins off-screen, then comes into your original position.  Add another keyframe to hold it there for a few seconds, then animate it off the other side.
With the X position control selected, click on the Curves button

You should be able to adjust the curve of the x-position so that it forms nice "S" shapes.  This will make the text slow down as it enters and leaves in a smoother more natural way.  See easing for more info.
Click the Curves button again to turn off the Curves view.
Now go into the Text controller and click on the "Animate" button

Choose Tracking.
Go to the beginning of your timeline.
Set the tracking type to "Before", and keyframe it.
Set the tracking amount to 45 and keyframe it.
Move along your timeline until the text is in view.
Set another keyframe to adjust the tracking to zero.
Move along your timeline to where your next Position keyframe is.
Set another "Tracking" keyframe (at zero), and set the Tracking Type to "After".
Move along your timeline until the text has moved off-screen, and set another tracking keyframe to "45".
Now click on the Tracking Amount control and click the Curves button again.
Again, make the curves look like nice S shapes:

Turn off the Curves view, and tweak the positions of all the keyframes until it looks right.


text:
Can MKV hold multiple images in sequence (i.e. slideshow?)
Everything I'm searching for is for people who want to have their album artwork incorporated into a video. What I'm asking is if MKV can hold multiple images in succession, i.e. for videos like this one:  where the video has very few actual "frames" (thus not taking up nearly as much space) because it's guaranteed to be 100% static content other than to change to the next page/image.
Unless modern compression algorithms make the amount of space saved in cases like this already negligible, I have no idea if that is the case --


text:
Confused about methods to speed up video
I have some CCTV recordings that I would like to speed up (like a timelapse) and I am confused about which method to use. I tested Avidemux and VSDC Video Editor and they both speed up videos in different ways:
•The "Change FPS" filter in Avidemux appears to speed up a video by cramming in more frames per second.
•The "Speed (%)" setting in VSDC appears to speed up the video by discarding extra frames, but keeps the final frame rate the same as the original file.
Is one method better or preferred over the other? Are there any major pros/cons for each method?
Here are the "MediaInfo" results for an MP4 test file I sped up by 10x using both methods:
ORIGINAL FILE
FILE SIZE/LENGTH: 37 MiB / 1 min 7 s 134 ms [00:01:07.134 (00:01:07:03)]
VIDEO BITRATE/FPS: 4 678 kb/s () @ 15 FPS (Constant) [Total Frames: 1008]
SIZE/ASPECT: 1920px * 1080px @ 16:9 (1.778) Aspect Ratio
VIDEO FORMAT: AVC (Advanced Video Codec) / High@L4 / CABAC / 1 Ref Frames
VIDEO CODEC: video/H264 / Advanced Video Coding / 8 bits / Progressive Scan
VSDC (Changed speed from 100% to 1000%  to speed up by 10x)
FILE SIZE/LENGTH: 14 MiB / 6 s 734 ms [00:00:06.734 (00:00:06:11)]
VVIDEO BITRATE/FPS: 17.0 Mb/s () @ 15 FPS (Constant) [Total Frames: 101]
SIZE/ASPECT: 1920px * 1080px @ 16:9 (1.778) Aspect Ratio
VIDEO FORMAT: AVC (Advanced Video Codec) / High@L5.1 / CABAC / 3 Ref Frames
VIDEO CODEC: video/H264 / Advanced Video Coding / 8 bits / Progressive Scan
AVIDEMUX (Changed FPS from 15 to 150 to speed up by 10x)
FILE SIZE/LENGTH: 17 MiB / 6 s 727 ms [00:00:06.727 (00:00:06::9)]
VIDEO BITRATE/FPS: 20.0 Mb/s () @ 150 FPS (Constant) [Total Frames: 1009]
SIZE/ASPECT: 1920px * 1080px @ 16:9 (1.778) Aspect Ratio
VIDEO FORMAT: AVC (Advanced Video Codec) / High@L5.2 / CABAC / 4 Ref Frames
VIDEO CODEC: video/H264 / Advanced Video Coding / 8 bits / Progressive Scan

without seeing the videos, it should just boil down to personal preference. Typically I would do it with percent change but the other way by changing fps should make it smoother. basically cant tell without seeing the videos so just choose the one that best fits

I've since come to learn about one downside to increasing the fps to values above 60. Apparently lots of video players can't smoothly process more than 60fps during playback.


text:
Audio- The use of trrs cable
I didn't do any research until after lol. I bought a trrs to trrs cable. Will I be okay to use this for my H5 recorder to my Sony a6400 camera? Or will I need a trs to trrs ?

Plugs are only the first of your issues. Impedance-matching comes a close second. See https://www.cablechick.com.au/blog/understanding-trrs-and-audio-jacks/ for the first. Ask a new question if that's not sufficient. You didn't actually explain what you are trying to achieve. Are you trying to sync your audio to video as you shoot it? If so, that's what the clapper is for. Such as DaVinci will quite happily align your audio to video at import, using the camera's cheap mic against your 'real' audio.

According to this page, the Sony a6400 has a 3.5" stereo mini jack microphone input.
And the Zoom has a 3.5" stereo line out mini jack p144 of the PDF.
Both devices look to me like they probably use TRS not TRRS, although it's not clear from the manuals.
It might work correctly, assuming both devices are wired the same way (e.g. my TRRS apple earbud & mic work correctly in a TRS wired headphone socket).
(This is also assuming the Sony can handle line level inputs which are usually higher than mic input levels).


text:
Concat Demuxer playlist
So according to the docs located here
https://trac.ffmpeg.org/wiki/Concatenate
section: Changing playlist files on the fly
it says you can do this:

Now you can change the looping clip by a simple move command:

mv next_clip.mxf dummy.mxf

I cant find any examples on the web of how this works.
I will test it some more but i cant seems to get this to work, I added it on the last line in place of where i would normally put the next text file to open.  but it just kept cutting off.
I am assuming that it would cut off because that once it loads up the txt file, it cant be changed.
I have seen reference to such things as "outpoint and inpoint"  but can not find any info on that either.
can someone point me in the direction to all the commands i can put into the txt file when using the concat demuxer.  i would like to learn what all i can do.

See https://stackoverflow.com/q/57143892/

thanks, so @gyan it is BEFORE last video in txt file plays, or is it once txt file is loaded there is no going back?    I was gonna go with the old method of  'files  video.mp4' and then the next list on the last line. file 'next.txt' ... if i stuck with that model can that last line "next.txt" be changed to say "two.txt" once the first txt file is loaded into ffmpeg?


text:
one-man-band outdoors interview filming, using gimbal
In the last couple of years, I've been interviewing WW2 veterans living in Israel, as part of a project of mine - whose goal is to allow the last members of the greatest  generation to tell their story, while they're still here.
To make the interviews more interesting, I thought about filming some parts of the interview while slowly walking in a park or around the interviewee's apartment.
It's just that I've seen some interview fragments which were shot that way - and in my opinion, it brings some extra "life" to the interview subject, as a contrast to a person which sits through the entire video.
I thought about buying a gimbal and support belt to plug it into, and just to hold the camera, via the gimbal, in one hand, slightly to the right side of me - so that the subject won't look straight into the camera and the footage will look good.
So, considering the fact that I'm doing this on my own  – and I got a Canon 70D (+24mm f2.8 lens) and a Sony A6000 (+30mm 1.4 lens) – which I usually just use on tripods, during a standard "sitting" interview – does this seem reasonable to you, or do you have any tips\recommendations?
It's important to emphasize that the walking speed is gonna be very slow, with potentially many parts of the interview taking place when the interviewee sits down on a bench or just stands still for a moment. So, my ultimate question is – will I be able to act as both the interviewer\listener and to operate the camera (holding the gimbal, making sure it's pointing at him) at the same time?
Any recommendations, tips, criticism or any other input will be greatly appreciated !
Pictured below: Walter Bingham MM, from Jerusalem, which I interviewed about a year ago and an illustration of the gimbal +support belt setup I thought about using.

A teaser of an upcoming episode, as an example of my footage -

Maybe an insta360 might be more use for this? The stick is automatically deleted when you process the video, the motion is very smooth, and they’re small and light, so you could hold it for long periods of time. I’ve seen people use them on news reports as alternative views quite successfully.
https://www.insta360.com/mobile/
Example on BBC News here:
https://twitter.com/dougalshawbbc/status/1503755874770247682?s=21&t=OMTA_nM62KKcJbjDG1Lnaw

It looks very dinky, but the shots are really wide, going on fish-eye, & long, long DoF which really makes it look like newsreel.

I see no reason you couldn't do it this way, assuming you're using lav mics for the sound to avoid you being much closer to the camera mic, yet off-axis.
I'd grab a couple of friends for the rehearsals & definitely one for the shoot. If you're walking backwards, not only to you have to be able to keep the camera pointed in a sensible direction, you also have to actually be doing the interview - all whilst walking backwards so you can't see where you're going.
In the pro world, this is achieved using a Grips or Camera Assistant, who will literally just keep hold of your back as you walk. Their job is then two-fold - they stop you from walking into things & they shove people out of the way who might otherwise knock into you. [This is probably an easier task on set where camera is king. In public they might have to be a little more circumspect in their shoving;)
In short, though, this leaves you to be camera op, rather than camera op constantly looking over his own shoulder.
So you then only have two jobs to do - keep the cam steady & keep up your side of the interview.
Alternatively - find a cameraman.
I managed to find a picture of this setup in action, though I'm assuming you won't also have a boom op behind you. [Seems tough to find a pic of this with the AC facing the direction of travel, but I assure you this is the way to do it ;) I've seen camera ops who can do this whilst running backwards.

You could of course, avoid the interview portion to camera & just use it as backdrop to a voiceover segment - seeing, doing, but not talking; or alternatively get the interviewee to run a part of a long narrative, so you don't need to be holding up your end of the interview at the time, just be the face to talk to, for sight line. It would perhaps give it a more documentary feel rather than straight talking heads.
You might have to choose between longer lens, wider aperture & ability to keep the subject in focus whilst doing this. I always love a soft background for this type of thing for a more cinematic, less 90's TV news look. That's normally going to need a focus puller too, so I'd definitely get this decided in rehearsals, not when you're tracking a 97-year-old veteran for take 17.
I don't know how good your autofocus is for tracking this live, but personally I'd accept a shot going soft in places over one I can see the focus jumping around.


text:
FFmpeg 5.0 vs 3.4 performance
I was trying to compare ffmpeg 5.0 vs version 3.4.6 in how much performance improvements I would get while transcoding a simple 720p video into a H264 video. On my laptop, I noticed around 5-10% improvement in the total execution time when using the updated version.
ffmpeg -y -i video.webm -r 30 -vf eq=gamma=.95:saturation=1.1,scale=w=960:h=540:force_original_aspect_ratio=decrease -c:v libx264 -profile:v high -level 4.2 -crf 25 -tune film -b:a 128k -ar 44100 -async 1 -movflags +faststart -max_muxing_queue_size 9999 output.mp4

Should I really expect a performance improvement when using this updated version? And are there any other flags or ways I can add to improve performance or quality even more?


text:
Create sliding logos in multiple rows
I'm very new to creating videos and I want to create 3-4 rows of brand logos that are sliding right to left at a constant rate - not moving and stopping. There'll be limited logos so I want them to loop around if that's possible. The closest thing I've found as a reference is this: https://demo.essentialplugin.com/prodemo/pro-logo-showcase-responsive-slider/logo-slider-with-multi-row/
Can this be done with Adobe premiere or after effects? A detailed guide would be appreciated since I'm new to this.

exactly how many logos do you have to work with?

There are around 9 logos in a row. 5 logos are visible at a time.

The Gridder script for After Effects might be useful for this.
There's a video here showing how to use it.
If you're new to After Effects, this set of tutorials is old but good.


text:
FFplay will not close and reconnect when SRT stream ends
So I have been testing the SRT streaming to use with OBS.  so far love it BUT ffplay will not close when the stream ends and try to reconnect. it just stays paused at last frame and the ffplay window stays up
my code is here:
%ffplay% srt://0.0.0.0:43560?mode=listener&transtype=live&latency=0&recv_buffer_size=0 -window_title "SRT Player 1.0 - Viewer (powered by FFPlay)" -x 720 -y 480 -sync audio -autoexit

I have tried using these commands too:
connect_timeout=milliseconds

linger=seconds

timeout=microseconds

What I would like to achieve that if stream ends it closes and then starts ffplay over again.  I have even used FFMPEG to grab the original and if it finds it to start ffplay like this:
%ffmpeg% -hide_banner -loglevel 0 -stats  -re -i srt://127.0.0.1:5000?mode=listener -c copy -f mpegts "srt://127.0.0.1:43560?mode=caller&transtype=live&latency=400000" | %ffplay% srt://0.0.0.0:43560?mode=listener&transtype=live&latency=0&recv_buffer_size=0 -window_title "SRTt Player 1.0 - Viewer (powered by FFPlay)" -x 720 -y 480 -sync audio -autoexit -exitonmousedown -autorotate

But this fails as well because of stream ends it just sits open.

you can specify -autoexit it works for me


text:
How to change Background color in a Video? SOFTWARES: Filmora or Adobe Premier pro
I have a little video animation. I want to change the backgroud color (Part of built-in Video) from black to white throughout the whole video without disturbing the main focused logo (RED logo).

Without the original assets, anything you do will be less than ideal.
In Premiere:
Because the background is black, you could change the Blend Mode in the Opacity settings to Screen.


text:
Is it possible to use high framerate to achieve better stabilization outcomes in DaVinci Resolve?
DaVinci controls regarding stabilization are very limited, and there seems to be no documentation on how to achieve the following.

Given moderately shaky 100fps footage, one wants to
produce a 30fps timeline,
without slowing footage down (no slow-mo is needed for that bit), but
making the stabilizer use excess framerate to provide better stabilization.

An example of similar approach is various timelapse apps, shooting a normal framerate video and produce a very smooth sped-up outcome.
I have tried using stabilizer on the clip interpreted at 30fps and sped-up 300%, and on the same clip interpreted at 100fps without the speed-up. I have tried cranking up the Smooth parameter and turning off GPU acceleration. However, the outcome doesn’t seem to be improving, which makes me think the Resolve’s stabilizer is not designed to use excess framerate when it’s available.

Maybe you actually want some hardware like this: https://store.dji.com/de/shop/handheld-gimbals (I know it's too late if the shots are made, but some recording mistakes are hard to fix post-production)

@U.Windl I agree that it’s best to stabilize during the shoot.

The stabilizer doesn’t “care” about the fidelity of time it’s processing.  It looks at the sequence as a whole, calculates the vector magnitude of pixel motion from one frame to the next, and then translates or warps (user choice) each frame in the opposite direction.
A 3000 FPS video looks the same to the stabilizer as a 30 FPS one.
HFR video is great at capturing temporal fidelity, but higher temporal fidelity of a shaky camera only gives you higher-frequency camera rotation noise.
To smooth out the noise, you actually want to blend the frames together.  This is possible in Resolve by blending together nearby frames with motion blur, either through the motion tab of the color page, or as an edit effect.  Last I checked, the color page couldn’t simulate greater than a 360 degree shutter, however.
But all of this happens naturally, in camera, when you use a lower frame rate and longer shutter speed.  So in most cases, using HFR works against you.
You see the effect more commonly in time lapse videos because they are essentially the opposite of HFR ones, and high frequency rotational noise is naturally filtered out because each sample is spaced further apart temporally.

HFR provides signal and noise, and excess frames could be used as input for stabilization. In the simplest case, if I shoot in 120fps and deliver in 30fps, point tracker can at least choose from four frames the one that deviates the least. I wonder if this is used by Instagram’s Hyperlapse, which doesn’t produce extremely shaky footage despite being ultimately the same case (stabilization + speed-up discarding excess frames).

BMD are very open to feature requests and recommendations posted on the feature request subforum of their website.  I’ve personally made requests which were implemented in the next point release.  In one simple case, it took them less than three weeks.  It can’t hurt to ask.  They won’t comment publicly, but simple, reasonable requests with community support usually receive prompt attention. Just watch the release notes.

I guess the answer is “no”, but the question I should’ve asked is “how to achieve this with some workaround or another”…


text:
Smoothing video by filtering out single-frame parts in video
I have some video material that has been created by time-lapse video using a GoPro Hero 6 Black. Since the camera's position is fixed, the background of the video does not change much. The foreground however changes very fast because of time-lapse. Some objects in the foreground are only visible in one frame.
I need a way to remove the fast-moving parts. If the software detects that a certain part of the video is the same in a few frames, but very different in just one frame, it should replace that part of the single frame by putting the content of the other frames there.
This should result in a smoothening of the whole video.
I don't have access to expensive professional video software. If possible, I need a way to do this in consumer-oriented software like iMovie. I could buy Final Cut Pro if necessary, but would prefer not to.


text:
How can I make a top 10 videos on iMovie? Like does it have a feature on the Storyboards where I can do this?
If it matters I'm trying to do this on iOS would I need resources from other apps to make the video

Do you want to edit and combine various videos into one video? Your question is not very clear. Are you looking for resources to do this with apps on an Apple device?

Maybe watch tutorials on YouTube about iMovie. If those don't help and you have a specific question you can ask it here. But, in my opinion your current question is way too broad to answer here.


text:
How do I get a totally consistent white tabletop background?
I'm working on a project that involves filming playing cards, and then cropping/joining different parts of the video. For a seamless result, the background of the video needs to always remain the exact same, so a side by side of different timestamps doesn't look edited. I've found when I film, my iPhone camera is constantly changing the colour/lighting of the backdrop depending on what's in frame. This is not a result of any actual shadows that are created, I can see the table appears the same in real life while I film. I've linked an example video of this happening just by moving my hand in and out of frame.
I've tried several "raw" and "manual" camera apps which lock focus/exposure/white balance, but they all have this issue. Is this something unique to the iPhone? Would I have this problem with another camera? Please advise!
Example: https://i.imgur.com/yGbGIVh.mp4

That's interesting.  Just tried it with locked AF/AE in the camera app as you showed, and it definitely is adjusting the white background even though the focus and exposure are supposed to be locked.  Same with MAVIS and Filmic Pro too, where you can lock the white balance.
Usually when someone films seamless white, they are shooting upright rather than top down.  They light the background so that it exposes at 100% white, then light the foreground so it is correctly exposed.  The problem with top down is that you can't separate your foreground from your background as easily, so I'm not sure what the correct setup would be here.
A softbox (or a lightbox) pointing towards the camera, with additional soft lighting for the cards and hand.


text:
Importing video with very low frame rate into kdenlive
I'm trying to import a video that has an effective frame rate of about 3.3 fps from a stream that I captured with the ffmpeg command line tool.
The video profile seems to be reporting that the frame rate is 25 fps; so it plays at high speed.
What should I do to get the video to play at the correct speed?

I discovered that when one puts the video on the timeline, and right clicks on the clip and selects "change speed", one can enter the rate that the clip should play (as a percentage).
When I changed the percentage, the rendered video played at the correct speed.


text:
Convert Premiere Pro 2022 to 2020
I was trying to convert Premiere Pro 2022 project to 2020 for my colleagues to use. The converter site has a message popped out when I clicked CONVERT. The error message is "Invalid file type. [Error 3]". I have a screenshot attached. How can I convert to a lower version from Premiere 2022. Thank you!
Truly appreciate.

I think Adobe only officially maintains compatibility within single version numbers of Premiere.  See here:
https://helpx.adobe.com/sea/premiere-pro/using/backward-compatibility.html
You might be able to export the project as another format, like you would when exporting to another editor (like this example exporting to Davinci Resolve).  But you're likely to lose some edit information (plugins etc), and it will be difficult to do.  You're better off all working on the same version.

Usually method with unpacking PRPROJ with 7-zip helps me.

Unpack project file with 7-zip
Open in notepad.
Edit version in line number 4.
Version="40" is for Premiere 2022.
Version="39" is for Premiere 2021.
Version="38" is for Premiere 2020.

You can even edit it to Version="30", then Premiere should propose you to resave it to actual version.

Save the file and rename in to prproj.
4.1. Or pack it with 7-zip with these settings:

Then rename to *.prproj
Video explanation


text:
Fill the inside of a hollow/outline font in AFX
I have a text animation (animated letters) in AFX with an "outline" font (that has no fill). There has to be a way to fill the inside of the font somehow? Are there any workarounds? I know I could manually "paint" behind the text, but that's no option since it should be animated (sure, I could keyframe).
I could duplicate the animated text layer, add a stroke big enough. But how can I "matte" out the "overfill"? Is there an effect in AFX to take an alpha matte just from the "outside" of a layer? That would solve this issue..

Wow. This is actually pretty tricky. I can't think of an easy, perfect solution. But here are some workarounds:

Do your text in illustrator first, so you can manipulate the paths to create fills before bringing them into AE.
You can right click on the text and choose create -> Create Shapes from Text or Create Masks from text, then manipulate the paths/masks to create fills. Tedious, but effective.
This would be a bit more work, so I wouldn't suggest it unless you are going to have this same problem a lot. But you could use the font to create a new font in illustrator.
Sometimes the same font exists that isn't an outline. If you could find the match, you could pair them up.
This magic wand preset looks like it could be useful:

Since you mentioned that you need to do animated letters, pretty much all of these solutions would require you to break the text's characters down to individual letters. There are a couple of 'name your own price' scripts on aescripts.com that might be helpful. One is called 'Decompose Text' which helps to break the characters out to their own layers and the other is called 'Rift' which helps to offset the layers or keyframes depending on what type of animations you are doing.

Thanks. Since the animation has to be the actual text animation inside AFX (so text still should be editable etc), unfortunately doesn't work.
I "solved" it with the "paint bucket" effect now, but still is too much manual work of course.
As written previously, there has to be a matte effect that takes just the OUTSIDE of a layer? Or a plugin or something?

Yeah. Not often I get stumped these days. But this one has done it. Good luck!


text:
How can we keep the subtitle track when converting from MKV to MP4 with ffmpeg?
I have an MKV with integrated subtitles as such:

I want to keep "English [Full] - [English]" when converting to MP4.
Currently I use this command:
ffmpeg -i myMovie.mkv -vcodec copy -acodec copy myMovieMP4.mp4

The conversion works but the subtitles don't show up on the screen and if I go in "Subtitles" and select this, it still doesn't show up:

Ideally, I would like to those subtitles to automatically show up when running the .mp4 (as though it was hardcoded into the video). Is there any known way of doing that?

What should I do when someone answers my question?

You can find detailed answer on your question here
Basically you need to add "-map" parameter to your command.
ffmpeg -i myMovie.mkv -c copy -map 0:v:0 -map 0:a:0 -map 0:s:0 myMovieMP4.mp4

-map 0:v:0 means, that you want to pick first video track from first input file "myMovie.mkv".
-map 0:a:0 means, that you want to pick first audio track from first input file "myMovie.mkv".
-map 0:s:0 means, that you want to pick first subtitles track from first input file "myMovie.mkv".
You can can input ffmpeg "myMovie.mkv" to look at the list of streams in the file.
This command with "-map 0" will put all available tracks into the output file:
ffmpeg -i input.mkv -map 0 -c:v libx264 -c:a aac -c:s mov_text output.mp4

Selecting streams with the -map option
To burn-in subtitles you can read the link at the top of the message or find another subject here at the stackexchange.
Basically you can burn-in subtitles from MKV to MP4 using this command
ffmpeg -i input.mkv -filter_complex "[0:v:0]subtitles=input.mkv:si=0[v]" `-map "[v]"` -map 0:a:0 -c:a copy output.mp4

[0:v:0] - means, that you want to take first video stream from input file.
:si=0 - means, that you want to take first subtitle stream from input file
-map "[v]" - means, that you want to put into your output video processed by filter_complex stream (video + subtitles).
-map 0:a:0 - means, that you want to take first audio stream from input file
Audio will be copied, video stream will be reencoded.
-c:v libx264 - reencode to x264


text:
Can I fix choppy video shot at wrong shutter speed?
I shot some video at 60fps with the intention of putting it in a 24fps timeline slowed down. (59.97 and 23.976 actually) Usually I shoot at a shutter speed of 1/125 for shots like this. I shot some at 1/60 where it was too dark to shoot at 1/125. Between those two I really can't see a huge difference.
At some point however I must have bumped the shutter speed to 1/50. They don't look too different at full speed but when slowed down it seems a bit choppy. It's kind of a neat claymation style effect but not what I was going for. Was wondering if there was some way to smooth it out? I edit in Davinci Resolve

I wonder if you expose 1/125s for 60 FPS, I think you can smooth something, but when exposing 1/50s for 60 FPS, it should be smooth already.


text:
Connecting CCTV coax-based video surveillance cameras to a Synology IP solution
[I hope this is on-topic here as it appears somewhat related questions have been asked before]
I have a 4-camera analog CCTV system using coax cable. I'd like to replace my analog DVR (digital video recorder) with a digital solution leveraging my Synology NAS.
From my research, I believe I need a video encoder that converts BNC coax cable signals into an IP stream.

Is this correct?
Any recommendations for products that would do the job? Bonus for solutions that plug into Synology's Surveillance Station solution.

Welcome! BNC is a connector and coax is a (very broad) description of cable. You need to find out what signal the cameras output. There are some unusual ones that security systems have used over the years. Then, if it is an analog signal, you'll need something that can convert analog to digital and then encode RTP or SRTP. I haven't done the math, but my gut says it would be less expensive to just replace the cameras.

Thanks. There are some products (e.g., https://www.axis.com/products/axis-m71-series) that appear to do this - I will attempt to check with them if they solve my use case


text:
How to run multiple FFMPEG commands as a batch file in Windows 10/11?
I have the following code which adds a small overlay text over my video:
ffmpeg -i video.mp4 -vf "drawtext=fontfile=path\font.ttf:text='ABC':fontcolor=black:fontsize=45:box=1:boxcolor=white@1:boxborderw=5:x=(w-text_w)/2:y=50:enable='gte(t,5)',drawtext=fontfile=path\font.ttf:text='DEF':fontcolor=black:fontsize=45:box=1:boxcolor=white@1:boxborderw=5:x=(w-text_w)/2:y=100:enable='gte(t,5)'" -codec:a copy output.mp4

I have around videos for which I want to do the same command. I have the 100 commands ready through excel formulas.
Now, can someone please help me how I can execute these 100 FFMPEG commands as a batch file on Windows 11?

You might also like to make a ".bat/.cmd" file that takes the file name as a parameter
Note the  %%1 is the input file and %%2 is the name of the output file
=>addABC.bat
 ffmpeg -i %%1 -vf "drawtext=fontfile=path\font.ttf:text='ABC':fontcolor=black:fontsize=45:box=1:boxcolor=white@1:boxborderw=5:x=(w-text_w)/2:y=50:enable='gte(t,5)',drawtext=fontfile=path\font.ttf:text='DEF':fontcolor=black:fontsize=45:box=1:boxcolor=white@1:boxborderw=5:x=(w-text_w)/2:y=100:enable='gte(t,5)'" -codec:a copy output.mp4

Then you can use it like this =>

 addabc  video.mp4 output.mp4

its also possible to just use the input name and append something to it for the output file name

Open any txt file editor.
Paste each command separated by newline each (press Enter).
Save as .bat (not .bat.txt, so click 'All files').
Execute it by right click Run or Execute
Consider making the 100 commands in batch and not Excel next time.


text:
Sony Vegas Transition Effect and Colour Correction
Can you please help me with this issue here?
When I apply some transition effect to my videos colour correction gets mixed up and from something good looking I get a video with blue colour over it.
See the pictures so you can know what am I talking about.
By the way, I'm working in Sony Vegas Pro 17, and there are no colours added to the effect (transition) I am using.


text:
Will a professional PL s35 anamorphic lens cover a fuji sensor and provide proper squeeze?
I have a fuji x-mount camera which is aps-c. As far as I understand it aps-c is just about the same size as super35, and I can buy a PL mount adapter for my fuji camera. Does this mean if i use something like an Atlas Orion 2x i would actually get a 2x squeeze? Or is there some other limiting factor I'm not understanding here. I can't seem to find videos or forums talking about using pro cine anamorphics on fuji, only those 1.3x sirui lenses made for fuji. Maybe I'm not even asking the right question.


text:
Best camera for filming rain
I want to film two types of YouTube video:

Non moving shot, relatively close up. E.g under a lamp post capturing each failing droplet.

Virtual walk.

Are there specific cameras that will let me capture the rain in life like realism, or is it generally “higher res, higher FPS”?
Which lenses should I be looking at?
I have about $1000 to spend. Looking at the Sony a6000.

Welcome! I don't have a specific recommendation on a camera, but do keep in mind that in order to clearly capture water, it needs to be back lit. If it is only front lit, no matter what the specs of the camera are, you may not get the look you are going for.

Why does it have to be lit from the back in particular?

So you can see it at all. This article covers how tough it is to shoot a rain scene - https://www.zacuto.com/blogs/blog/how-to-shoot-rain-like-a-pro It's even tougher if all you have is real rain. It really is a general rule/guideline that 'rain does not show up on camera' Often a scene will be shot in real rain & the only hint is that you can see the actors' shoulders getting wet, if no-one thought to throw a flag up to protect them temporarily. The article is about shooting in daylight, so contains many scenarios you won't face at night.

The link that @Tetsujin shared only mentions it briefly because it was a bigger deal with film (and that is what I learned cinematography and lighting mostly with). But think about when you are driving in the rain at night. On a dark road, your windshield can be practically covered in raindrops and it won't affect your vision too much. But the second the headlights of an oncoming car light up your windshield, you are reaching to crank up the wiper speed.

@MichaelLiebman - agree entirely. But I've never worked a shoot [TV, more rigid schedule] where the call to 'let's film it like it's actually raining' which of course happens on occasion, ever bothered to try capture the rain itself. They just allow that the pavement is shiny & give the SAs brollies & raincoats. Swing to an angle you can see it running down a car windscreen & make sure the principals look wet enough. …and… turning, speed, set...

This question is too broad and is difficult to answer.
Are you making some kind of real-life documentary and you are traveling to a rainforest or a Monzon propensity country?
Are you making a short film with fake rain and therefore your camera will be relatively dry?
Besides some obvious things like choosing some waterproof camera or casing in the case of a real-life scenario, the specs of the camera do not matter.
Any normal camera will capture what is in front of it... if it is well lit.
Light is the key to capturing water. That is why you have a car with the lamps on a rainy scene, or a street lamp, or bright lights from a store.
You need to look for some tutorials.
Hi-res or normal res, depending on your project. You will never say, "you need a 4k camera or you can not film a rainy scene" Do not choose the resolution of the camera based on the weather.
The same with the FPS. It could be the case you need a specific scene where droplets are in slow motion. But that is just one scene.
You probably could use an action camera, but you are not defining if the field of view works for you for example. They have slow-mo capabilities, are waterproof, they will work in a virtual walk... But we do not know anything else of the project.
Really, you need to make a more in-depth brief of your project.

As you posted more info. Let me analyze your sample video:

You can see that the maximum resolution this video is streaming is "only" 1080P, and at 30 Fps. So, any modern Video camera is capable of that.

I can not tell, but probably it has a wide angle Probably an action will do.

The camera is protected against rain. So you do not really need it waterproof. Unless you want to walk in the rain.

The camera is streaming live, so, probably you need the camera connected 24/7. Probably a simple webcam can help you.

But as I said. The rain has some backlights. You can not really see the rain in the air, only hitting the floor, because you need a strong light pointing to the middle air.

One thing that is important to consider. The interesting part of the video is not the video, it is the audio (It is a really nice sound). You need a good mic.

About 30Fps vs 60Fps. If you can see the raindrops at 30Fps, yes, probably 60 will give you an extra something. If you can not light them to see them at 30, you will neither at 60.

The main thing is making the viewer feel like they are actually there. Something like https://www.youtube.com/c/HelloKorea4K. I guess high res and high FPS would matter because the drops are small, so the high res would have a higher chance of capturing them, and FPS may matter because motion looks smoother with more frames (60fps)

I added additional paragraphs. :)

I would dispute 'motion looks smoother with more frames', especially when you're trying to capture something that really doesn't want to be captured, like rain. With a longer exposure per frame, you have the chance for individual raindrops to streak/blur, making them more visible. You still have to backlight it properly to have any chance at all. Note how the big drips from whatever is sheltering the camera show up far more than the actual rain. [btw, you're going to have to tilt that backwards so it doesn't drip.]

Yes, probably. I will try to make some tests with different FPS. But I need time to do it.


text:
ffmpeg to combine video + alpha video, transparency key with threshold
I have two corresponding video files. One is a regular video and the other is meant to be the alpha channel for that video. I wish to combine them, and use the alpha video to lay a transparency key over the video, then output to a PNG sequence to avoid any lossy artifacts on the transparency key.
The alpha video needs a threshold filter applied to remove the gray pixels, then the main video needs the transparency color applied where the alpha video has black pixels. From trying to understand the threshold filter in ffmpeg, is almost seems like it might be possible to do this one one operation, however I am having trouble understanding how streams work.
The motivation here is that I would like to store these videos as small as possible. This could be done directly in a video editor, but I would need to keep the videos as PNG sequences to preserve the sharp transparency key. I have tried other codecs to keep this alpha data but they either aren't supported by my editor, are as large as PNG sequence and/or don't preserve the sharp transparency mask. I would like to use ffmpeg so that I can script this conversion when the frames are needed and they can remain as h264 the rest of the time.

ffmpeg \
-i test.mp4 -r 29.97 \
-i test_alpha.mp4 -r 29.97 \
-filter_complex "\
\
color=c=fuchsia:r=29.97,format=rgb24[fuchsia];\
color=c=black:r=29.97,format=rgb24[black];\
color=c=white:r=29.97,format=rgb24[white];\
color=c=0xe0e0e0:r=29.97,format=rgb24[gray];\
[fuchsia][0:v]scale2ref[fuchsia][i];\
[black][i]scale2ref[black][i];\
[white][i]scale2ref[white][i];\
[gray][i]scale2ref[gray][i];\
\
[1] [gray] [black] [white] threshold [mask];\
[i] [mask] alphamerge [merged];\
[fuchsia][merged]overlay=format=auto:shortest=1,setsar=1\
" \
tmp\%04d.png

I spent some time learning how filter_complex works while I wait for an answer.
This fixes the alpha video with a threshold, does an alphamerge with the source video and threholded video, then just overlays that on top of a fuchsia background. The one tricky thing was setting all of their frame rates or else the frames wouldn't line up after the threshold.
The only problem with trying to do this all with just the threshold filter is that when you set the "min" color to fuchsia, it comes out a dark gray.


text:
Trigger on markers
Can someone please break down this small bit of code for me,  at a highlevel. Particularly the part n=n-1, I haven't worked out why we minus 1 from the marker here.
Thanks
    n = marker.nearestKey(time).index;
 if(time < marker.key(n).time){
  n=n-1;
 }
 if(n==0){
  n=1
 }
 t=time-marker.key(n).time;
 thisProperty.valueAtTime(t)


text:
Real time merging of two analog video streams (coming for wireless receivers (pal/ntsc)
Combining ANALOG video feeds -- real time/low latency
We fly fpv. One pilot, one second operator controlling the camera, both have analog video feeds.
Pilot vtx feed: backgrond
gimbal feed: we want a small rectangle in the corner overlaying the pilot's background feed
requirements:
real time, as we fly FPV, added latency < 20 ms ideally
Which (ready made) hardware would allow this?
The inputs are AV out (we can convert to any plug).
Should be portable and battery powered, ideally.

You'll need an analog DVE. They aren't really manufactured anymore, but you can probably find something used. If you don't need to resize the overlay video, you might be able to get away using an analog switcher with a mix/effects bus and applying a wipe.
No matter what, you'll need to frame sync the two feeds. That will add at least one frame (33ms) of delay. A DVE might add another frame on top of that.

Thx! Do you have a particular brand and model in mind? This usually makes it easier to find websites, suppliers and other related info than general search terms like DVE. Not sure how we gonna frame sync, as both signals are coming from different receivers.

The only brands I'm remembering right now are Abekas and Pinnacle. There were definitely others, but those are probably the two you are most likely to find on used broadcast equipment sites. As for the signals coming from different receivers, that is exactly the purpose of frame syncing. You need to have both sources time-aligned so that the DVE can manipulate the video without rolling or glitching. The signal flow will be receiver -> frame sync -> DVE.

Are both signals delayed by 33ms, or only one of the 2 feeds is adjusted to run in parallel and synced with the other, so only one is delayed? Is it possible with very specific hardware to have maximal one frame delay (< 35ms)? Maybe with some custom chip that is hardcoded to do this (not a DVE)? Or first a digital conversion?

What is the analog switcher option exactly?

Let's continue this conversation in chat.

Great, ok! Didn't know this was possible.


text:
FFmpeg combine Stream Loop and Filter into one command
I'm currently running two FFmpeg commends:
[1] Looping a video for the entire duration of an audio file.
ffmpeg  -stream_loop -1 -i 1min-loop.mp4 -i 2min-song.mp3 -shortest -map 0:v:0 -map 1:a:0 -y looped-video.mp4

[2] Taking the resulting file add overlaying image files.
ffmpeg -i looped-video.mp4 -i overlay.png -i art.jpeg -filter_complex "\
  [2:v]scale=400:400[resized-artwork];\
  [0][resized-artwork]overlay=100:100[vid-and-artwork];\
  [vid-and-artwork][1:v]overlay=0:0" final-video.mp4

Is it possible to combine these into one command? Thx

Use the main input with stream loop, and add -shortest
ffmpeg -stream_loop -1 -i 1min-loop.mp4 -i overlay.png -i art.jpeg \
-i 2min-song.mp3 -filter_complex "\
  [2:v]scale=400:400[resized-artwork];\
  [0][resized-artwork]overlay=100:100[vid-and-artwork];\
  [vid-and-artwork][1:v]overlay=0:0[v]" \
  -map [v] -map 3:a -shortest final-video.mp4

Use ffmpeg v5.0 or newer.


text:
Download coordinates (x, y) of a tracked point
I've gotten to where I can track my object and see it's coordinates using this resource.
I wanted to extract the location data for programming, but because I'm new to after effects, I'm not sure if I can or how I can extract it.

When you say programming - do you mean you want to reuse this data inside After Effects using After Effects "Expression" scripting, or export it somewhere else to use the data?

Once you have tracked the position of the object on screen, you can copy the Feature Centre keyframes as shown in the screen grab below.
The coordinates relative to the comp will be available from the clipboard, which you can paste into any text editor (see screenshot using TextEdit on the Mac)


text:
Sony a6400 Slog2 and minimum shutter speed?
I'm starting with my sony a6400 to get into videomaking (or at least trying to).
I'm shooting a short movie in Slog2 30fps 1080p, but I noticed that I can't set my shutterspeed to be the double of my framerate( 1/60 ), because the camera doesn't allow me to go that lower on shutter speed. How do you manage that? Thanks.


text:
Auto on camcorder
Used to have an old SD camcorder which had a power "switch" not a button. You could mount it out of reach and then flip it on easily with like a wall switch via aux power. Worked nice for video recording at my church. We now have a HD camera but it has a power "button". So now we have to reach or get a stool to turn on every time, total pain. Any way I can make this work like before or a better camera maybe that has a switch. Or maybe just need to get one with a remote?

Almost all mid-range camcorders nowadays allow controlling them from a smart phone over wifi. You can leave the camera on a DC cable, always on (not all models support this), and just connect to it and start recording when you need to.
Not as simple, needs connecting etc, but could help.


text:
Should I use SVG or PNG for my animated videos?
I'm currently building animations which will be exported into videos.
In some case I have stills in the background that won't change over the whole duration.
Question: Are there any differences in exported video size when using SVG compared to PNG for my still background?
As far as I know, the video will render them in a fixed resolution anyways (and thus it won't affect file size)?
Does it change when using different container formats?


text:
is there a way to get better easing on keyframes in davinci resolve
I'm trying to animate pngs of characters coming into frame when that person is talking but the easing that I can do when I right-click the keyframes is really bad. how can I make the easing more smooth because it still looks very linear? I can make a good, smooth ease in the curve editor but I don't want to do that to every keyframe in the video. what can I do?
I'm using resolve 17 studio

Use Fusion inside of Resolve if you need better control over keyframes ease.  Fusion has the bézier curves you’d expect in an animation package.  Resolve’s Edit and Color pages are more simplified.

I usually use this plugin for after effect to help deal with keyframes.
http://aesweets.com/easy/
Basically, this plugin helps to create keyframe curves with clicks as it has many presets.
Do you know if there is any equivalent for Davinci?


text:
Best hidden camera rig techniques
What are the best techniques that you have seen for hidden camera filming? It would probably be on-body, so needs to minimise motion blur/judder. This isn’t a question about legality or ethics - just techniques.

Are you going solo on this? The 'interviewer' is also the entire crew?

Not necessarily. I’d be interested in both approaches

I've been on guerrilla shoots where they had a GoPro peeking through an O on a protest sign, held at head height like the protester isn't actually protesting right this minute.
Also, I've seen a regular DSLR on a long lens, which whilst not technically hidden, is so unremarkable in public that no-one noticed.
The boom op had a mic up his sleeve.
Half the movie 51 Degrees North was shot using these tactics, though it does require that some of the people in the scene are placed, or that the crowd is large enough that these things go unnoticed.
For instance, the flash crowd at Piccadilly Circus were mainly in on it. The tube scene had a carriage-full of SAs taking up most of the space, to get the reactions right whilst the principals & crew ran the scene for a whole morning between stations without TfL catching on that the shoot was taking place.
Behind glass [shop window etc] can also work, if your subject is fairly static.

Thanks! Banner/protest sign is a great idea. What's an SA?

Supporting Artist… "extra" but you're not allowed to call them that these days ;)

From the fantastic TV show Brooklyn Nine-Nine: Buzzy cuddlebear

The picture is from an opening scene where two police detectives are at an electronic store that has had a burglary and are investigating. The other cop is interviewing the owner while Jake (pictured) nonchalantly describes how the thieves look like because he has looked at the footage from a camera stuffed inside a teddybear1 that was was placed somewhere in the store.

1Referred to as "nanny cam teddybear".

Your answer could be improved with additional supporting information. Please [edit] to add further details, such as citations or documentation, so that others can confirm that your answer is correct. You can find more information on how to write good answers in the help center.


text:
How do I move a picture along a curved path in KDEnlive?
It's been a week since I ventured into learning video editing.  I preferred to use KDEnlive because it is open surce software.
My question is the following.  How to make the letter "b" move smoothly from the position x=900 and y=465 to the position x=1680 and y=465 following the blue trace in the picture below?
Comments. The blue line is the upper part of an ellipse with extremities at
x=900 / y=465 and x=1680 / y=465.
I was able to make the letter "b" move from x=900 / y=465 to x=1680 / y=465 in three rectilinear movements.  Red trace of the figure.
[]

It seems that some of the options for transform are not showing in the sub-window of your screenshot, probably because it is not horizontally wide enough. Try to enlarge the width of that sub-window, and then you will see the additional options appear. In a pull-down menu, select the Smooth option for keyframe interpolation rather than Linear. Then, with maybe a couple additional keyframes along the ellipse, the motion should track the ellipse pretty well.


text:
I'm trying to make an op-1a pattern mxf file from an interleaved 5.1 BWF file. Must be audio only. Any ideas?
I've used quite a few commercial products over the years to create mxf files for various application (OP-atom, OP-1a, AS02, IMF, DCP, etc) but now I need to find a CLI method (preferably open source) to wrap a 5.1 PCM interleaved audio track as an OP-1a mxf file.
This is possible from a number of editing and mastering tools, but I need to incorporate this function into an automated pipeline and unfortunately, ffmpeg will not make an OP-1a without a video track. I have created a dummy video for other applications where the file spec isn't as stringent, but in this case I need a single interleaved BWF (or Stereo, depending on the source) muxed into an OP-1a MXF by itself (with the requisite MXF timecode, metadata, etc).
Any suggestions?


text:
Use ffmpeg to stream rawvideo from a USB camera
I have a image sensor that streams 640x480 in RAW8 format. A USB controller is receiving this data, packing two pixels of 8-bits each and sending to USB as a 16-bits per pixel YUV422 format (this is because currently UVC does not support RAW8 format).
I was checking if I can use ffmpeg to receive the UVC stream and decode it as RAW8 video.
Has anyone tried this before?

How do you access the sensor? With UVC?

Yes. its a UVC class device.

With
ffmpeg -f video4linux2 -list_formats all -i /dev/video0

you can query all available formats and resolutions
With
ffplay -f video4linux2 -input_format raw -i /dev/video0

you can access the raw video stream of the UVC device

Thanks for your reply!
I am using Windows and was able to stream RAW8 video by reporting the pixel_format  as gray.
( I used  ffmpeg -f dshow -pix_fmt gray -video_size 1280x720 -i video="UVC" -f nut - |  fplay -flags low_delay - )
However, I do not see any way to stream RAW10. I am not sure which pixel_format to use in this case. Do you know?
Thanks!

What output do -pix_fmts and -list_formats show?


text:
Improve sound + image combination performance
First question on this site, unsure if it's off-topic to ask for specific solutions to specific problems. If it is, I'm sorry in advance.
Code
I have the following ffmpeg command inside a bash script. You can assume I have values for all the variables in it - it is working just fine as it is, after all.
blackout_duration=14
transition_time=2
dur=$(ffprobe -loglevel error -show_entries format=duration -of default=nk=1:nw=1 "$1.mp3")
echo "Duration $dur"
offset=$(bc -l <<< "$dur"-"$blackout_duration")
ffmpeg -hide_banner -loop 1 -i $1.png -i $1.mp3 -c:v libx264 -preset ultrafast -tune stillimage -pix_fmt yuv420p -shortest -filter_complex "[0:v]fade=type=out:duration=$transition_time:start_time='$offset'[v]" -map "[v]" -map "1:a" $1.mkv

Description

Combines a png and mp3 files together to produce one mkv video file.
Fades the last n seconds to black (while there's still some music playing in the audio).

On a reasonably modern CPU (i7-8665U), I'm getting around 60 FPS while processing this.
Is it me or this seems awfully slow, given the fact that there's absolutely no process being done on the audio and the video is just the same frame repeated over and over?
And, if it is, could you provide a better approach?
Thank you


text:
Free tool/app to automate video generation out of video clips (quick selection of highlights from video clips, add intro and end texts, captions)?
I have a series of video clips that students created for their projects with embedded systems.
I'm seeking for a tool that would allow me to quickly select highlights from short video clips, add transitions, add title and intro section, end text section, captions on highlights etc...).
As far as I have researched, LosslessCut seems fine to select highlights. Is there any more complete tool or can I use LosslessCut and then use some other tool to add captions, music, intro and end sections with custom text for each clip (like project name, description, some photo of schematic, etc...) ? The best solution would be to prepare some kind of text scenario as a description and to automate video generation according to this file.
Thanks in advance for advice, pointers to tools and other sources to learn from, regards.

Davinci Resolve has a free version with a fully capable edit suite.  For quick-turnaround projects, it also includes the “cut page,” which is a simplified, minimalistic version of its  full-featured “edit page.”  For automation, Resolve is scriptable in Python and Lua, or you can avoid scripting, build project templates, replace footage, and run a render queue.  Resolve runs on Mac, Windows, and Linux.


text:
I've got half way through editing a clip on the timeline. Now I want to delete the remainder of that clip, but save a reference to it
I've got half way through editing a clip on the timeline. Now I want to delete the remainder of that clip, but save a reference to it somewhere. And then I'm going to add a second clip afterwards, and I might or might not use the rest of the first clip later on the timeline, haven't decided yet. But I don't want it hanging around cluttering my timeline in the meantime.
I understand that cutting on the timeline doesn't affect the original media, so I can simply 'delete' the remainder of the clip on the timeline, and then use I and O on the original clip, in the media bin, later on, and click 'E', in order to grab the rest of the first clip, back onto the timeline.
However, there are a couple of inconvenient points about having to find the range of the original clip all over again:

I have to go off and find the exact range all over again... I'd like to store it somehow, ideally without eg having to write down in a notebook the exact start time of the rest of the clip
I actually have two clips on the timeline, one above the other, linked together, that I've already gone to great pains to 'sync' together, so the actions in one are synced with the actions and audio in the other. I don't want to have to resync all over again.

Thoughts? Perhaps this isn't the exact way to achieve this in FCPX? What is your approach when you've edited half a clip, on the timeline, and you think you might use the rest of the clip later, but don't want to keep it hanging around on the timeline in the meantime?
I have read through in detail all the answers of How can I save clips that I cut? , but they do not appear to answer my question. Some of the answers simply say that the question isn't for an FCPX workflow, and to use a different workflow, but don't recommend an FCPX-compatible workflow to use.
Having written the question, a couple of answers occurred to me, so I've added in an answer with these options.

There are a couple of options to achieve storing a partial clip for later use.
1. keywords
The first option is to use keywords. I haven't tried using this approach, and it seems tricky to use to me, but maybe because I didn't try using it yet.
Basically, what you do is:

shift-F the clip, which is the same as opening the context menu and doing 'reveal in browser'

the original media clip will be selected in the media bin

click the > arrow next to the original media clip to expand it, to show the clips inside
press shift-F again

the cut clip, inside the original clip, will be selected

press command-K to open the keyword editor, or go to 'mark' menu, then do 'show keyword editor'
type in some phrase to remember your clip, like unused_part_of_my_clip, then press ,

this will label your sub-clip with the keyword, in the media bin

now you are free to delete your sub-clip from the timeline
whenever you want, you can go to the media bin, expand the original media clip, and drag the labeled sub-clip back onto the timeline

2. Compound clips
This is particularly useful for your second case, where you have two clips already stuck together on the timeline. Simply select those two clips, then open the context menu and do 'New compount clip...'

a new compound clip will be created in the media bin

also your original two sub-clips will be converted into a single clip in the timeline :P

you can now delete the clip from the timeline
whenever you want, you can drag the compound clip from the media bin onto the timeline

By the way, after moving the compound clip onto the timeline, you can double-click it to get back to the original sub-clips, or you can select it in the timeline, go to the 'Clip' menu, and do 'Break apart clip items'


text:
How to speed up video by more than 100x
I have a video editor that can speed up video (Shotcut) but it can only go to 50x. I have 90 minutes of video that I want to compress into 15 seconds (360x). How should I go about doing this? I know I can export it and then speed it up again, but that seems inefficient - is there some other software that can speed up video by a lot?

What platform are you using?  Different systems will support different software, if you can add more information we can help much more.

If you want a free one off option, I would recommend using ffmpeg.  Don't let commandline put you off, there's a ton of helpful stuff that will let you build a one off command to do this.  Here's a couple of links that will help.
https://superuser.com/a/1261681/653198
https://trac.ffmpeg.org/wiki/How%20to%20speed%20up%20/%20slow%20down%20a%20video


text:
Estimating video file size given camera parameters
I am trying to predict video file size given:

camera fps.
number of horizontal pixels.
number of vertical pixels.
bit depth.
time duration of the video.

using the following formula
file_size = horizontal_px * vertical_px * bit_depth * fps * duration_s

For a specific video in my phone (mp4 format) a video of 13s occupies 23.72Mb of memory. However considering the characteristic value of each of the given parameters and the formula provided, that should be 2313Mb instead, almost a two orders of magnitude difference.

camera fps: 30 fps.
number of horizontal pixels: 1920.
number of vertical pixels: 1080.
bit depth (unspecified, assume it to be 24 bits).
time duration: 13s.

I imagine that part of it may amount to the compression algorithms to reduce raw video size, but I wouldn't expect it to be able to reduce ~99% of the original size. What am I missing?

I don't think this is possible without more information.  Even if you only want a very rough estimated filesize, you are still missing information that will affect the final size.
Couple of things you should know:

some smartphones use a variable framerate in video.  This is the bane of any video editor but great for casual smartphone users.
Video can be compressed in different ways, using different codecs, and this will vary between devices.  You may be able to create a formula for one device, but this won't apply to other devices.
compressed video doesn't just reduce a file to a certain % of it's original size.  The compression ratio will vary a lot depending on the video contents.
I should think it's unlikely your phone will record in 24-bit color.  Some new phones will record 10-bit but 8-bit is common.

Instead, you should see if your device you use has a standard or average bitrate.  Most digital cameras, camcorders, DSLR's, etc will shoot video that will have a fairly consistent bitrate across different files.  If your manual doesn't say specify this, shoot some videos in different environments and average out the bitrate from the files.  Bitrate is a standard piece of metadata that will be included in most video files.  For instance my Canon 5D records at about 17250kbps for FHD video in PAL at it's lowest compression rate.
You can simply calculate by doing bitrate X time = filesize, and this will be reasonably accurate.


text:
Is it possible to use the keyer more like a mask, adding effects to the keyed colour, rather than just making it transparent?
I am playing with Final Cut Pro, and I was wondering how to use the Keyer function beyond just making a specific colour transparent on an overlayed video or image.
Say I had a video clip with portions of solid red which I want to make semi-transparent and display a blurred overlay of the video beneath it. Is this possible using a Keyer?


text:
Picture quality of video capture file produced using Virtualdub is excellent when played on my laptop but not on my smart TV. How can I fix this?
I'm trying to digitise some old Hi8 camcorder tapes using VirtualDub 1.10.4 with lagarith lossless codec compression and a Magix USB video converter 5 capture card.
When the captured file is played on my Windows 10 laptop using the latest version of Pot Player with deinterlace setting BOB (2x frame) the picture quality is sharp and motion beautifully smooth.
When I play the file on my LG Smart TV (after conversion to a readable format using Handbrake) the picture is awful (much like the video capture monitoring screen on VirtualDub): motion is blurred and the picture is full of lines or combs.  Playback is fine on Pot Player.
Please can you suggest how I can capture a file that looks as good on my TV as on my laptop.
I've tried numerous combinations of codecs for compression and playback, but no use.
The picture quality on my laptop seems better than using Magix Rescue Your Videotapes, which is why I'm trying VirtualDub.

You'll need to look at what formats your TV natively supports. It sounds like Handbrake is outputting something that your TV cannot use.

@DrMayhem. I don't know where I can get info on supported formats for my TV, but as I've indicated I've tried numerous formats, but while most will play, all the one's that will play give the same result or worse. I also want to preserve the smooth video of the original. Please find a link to one of my raw video capture files which you can play around with. https://drive.google.com/file/d/1jJEYBieAGQisK43xvDVU4FmxbWO1_F1C/view?usp=sharing

Of the steps you list, the only one that makes a difference is what you are doing with Handbrake. The capture is obviously fine, but whatever you are converting it to at that point is the problem.


text:
How can I make a smaller video when it has limited unique frames?
I'm currently editing a podcast that is mainly audio with only three unique images shown on screen. However, using h264 encoding gives me a massive file, how can I leverage the limited number of unique frames to reduce the file size?

Welcome! How exactly are you creating and encoding the video right now? What tools are you using? What operating system?

@MichaelLiebman Hi Michael, I realise it's been a while, life got in the way. At the moment I'm using premiere pro, on windows 10. I believe I'm using the h.264 or h.265 codec.


text:
Difference Between 50i and 25p Video Formats
I have a Sony Alpha A5000 camera, and it has quite limited video recording options. In AVCHD format, there are basically two options: 50i and 25p. I do know the basic difference between these two scan types, interlaced and progressive.
Here comes the main confusion. When I transfer the files from my camera to my desktop, and view the details in Mediainfo, both of them show
Frame rate: 25.00
Scan type: Interlaced
However, the 50i video file shows Scan type, store method: Separated fields, whereas 25p video shows Scan type, store method: Interleaved fields.
The question here is that how these file outputs are different? Is one preferred over the another? Any help is appreciated!
Google Drive links for these files:
https://drive.google.com/file/d/1DrnLUHsSHIwvvz8N_ZBOv5Jgg6SEAq8m/view?usp=sharing
https://drive.google.com/file/d/1GDvInvgUQDY7Gl4Pzv89QxalnFZh0bOF/view?usp=sharing

They're kind of the same thing [not exactly, but kind of…]
Progressive scan imaging starts at the first line & works its way - progressively, i.e. line by line - down the screen, meaning for a 1080p signal it must draw 1080 lines for every frame [25 times a second, in your case].
Interleaved scan uses only half the screen - it only scans each alternate line, so for a 1080i image is only has to send 540 lines. The next frame fills the other half of the lines.
Therefore, interleaving can send two frames in the time progressive takes to send one & using approximately the same data bandwidth to achieve it.
Interleaving is, however, not as sharp as progressive, because half the image has moved on since the frame before.
This allows manufacturers to claim it's actually running at 50fps. It isn't really, it's running a data-saving method of 'pretending' it's running at 50 fps, whilst still only drawing the entire screen at 25fps.
This is how the two are 'kind of' the same thing.
Use 25fps progressive every time over any claimed 'double frame cheat'.

This is how I also understand it. However regardless of selecting 50i or 25p from the camera, Mediainfo says that the video is interlaced. Maybe the information there is incorrect then? I'll be sticking to 25p scanning in the future. :)

The Media info is somewhat confusing/confused. A progressive stream should be just that, one whole frame at a time. When an Interlaced scan is presented, it can be separate, or already interleaved [ie it's presented with the 2 'half' scans already merged into one 'proper' frame. Maybe the camera always does 50i & the change is whether it presents separate 'halves' or interleaved. I can't find any accurate info on this.


text:
What FPS should I use for 59.94 footage slowed down?
What I'm doing seems to work but reading conflicting things online has me confused.
Right now things I upload go to YouTube or Vimeo.
I shoot 29.976 or 59.94 FPS and slow them down to 23.976 in Davinci Resolve clip attributes. (I'm pretty sure I shouldn't be using 24FPS right?)
I create my timelines as 23.976, do my editing and color grading, then should I deliver to 24 FPS or 23.976 FPS?
I'm currently doing 23.976 but I've read other advice to to use 24 but I couldn't understand why.
What framerate should I use for uploading to the web? What goes right/wrong depending on my choice?

The slight difference between the round number (30) and the other framerate (29.97) is due to historical reasons, where the signal of a black and white video was 30fps but when introducing the color data to the signal, and due they needed to maintain the parameters of the transmission, they reduced the framerate a bit so they had some space to integrate it.
If your video is not going to be broadcasted, rounding numbers just makes life easier. (I am not sure if the broadcast by radiowaves spec has changed now that almost all signals are digital)

As you already edited the project at 23.97, you should export at the same framerate. In theory, if you change the export to 24, you will have a duplicate frame every, let's say every 1000 frames to compensate for the gap.
When the video is delivered digitally, in theory, there is no need for FPS conversion. You can have a video with strange numbers, like 15Fps or 17.5...
I say in theory because I have not made extensive tests. But when you see the stats on a youtube video, for example, as far as I can tell, it uses round numbers.

Probably is because everyone is actually using round numbers, or the text on the stats is simply rounding them.
Another possible thing to consider, between 29.97 and 30, is that most monitors have a refresh rate of 60hz so, it could be an argument to round numbers too. But the difference is so small that probably no one will notice.
For your next project, you can choose 24fps (or 30 and 60) and simplify your life.