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Video camera for online course creation
I am starting an online course project and need to create  video files as a part of  lectures. There will be lots of DIY excersizes  so I need decent camera that could be attached to the small mount and placed on the table while teacher is showing how to do things. The main emphasis is on the DIY excersizes so the viewer shoulde be able to see the creative process very clearly.
I am considering to do some high speed/fps scenes as well as a part of the lessons.
Most of the time camera will be static, so there will be no movement around the scene.
What camera should be the best choice for this project? Please could you recommend any particular type/brand based on your experience?
Many thanks

I would whole-heartedly recommend the Panasonic HC-WX970K 4K Ultra HD Camcorder for this purpose:

When shooting 4K video, you can shoot wide enough to capture unexpected or exceptional things that happen outside your normal framing area while still having plenty of resolution for an excellent 1080p video.
It happily shoots exceptional quality 1080p120, which is true slo-mo.
It is small so it can fit on a bench without great disruption.
It has built-in ND filters, so you can have your bench inside or outside and still use sane aperture and shutter speed combinations.
It costs less than $800.

n.b.  If you shoot at 4K with a consumer camcorder, chances are you'll be shooting at 24fps or 30fps, which means there will be motion blur.  But if you can tolerate that, you'll get gorgeous still shots you can crop to whatever size you like.  If you shoot at 1080p60, you will greatly limit motion blur, but you will also be more constrained in how much you can crop, and how good the image looks when frozen as part of a diagram.  But a 4K camera such as the above will allow you to experiment and find the best of both worlds.


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DIY 120fps video recording and instant replay
I am trying to build cheap recording and instant replay system using two or three GoPro4 cameras. The idea is that I can put cameras on stands, connect them with computer and record two or three different scenes at the same time at 720p, 120fps. Is this possible with wifi connection to receive 2 or 3 signals from GoPros and record them simultaneously to a computer?
The next thing I need is the ability to rewind certain scene/camera recording (while still recording in the background) and just preview instant replay of a specific time frame or maybe even frame by frame.
Is this possible? Can someone point me in the right direction for some kind of software or additional hardware I would need in order to accomplish this?

I believe the answer is no, no, and no, for several reasons.
First off, GoPro don't support their cameras as broadcast cameras.  They are person video recording devices.  I tried using the HDMI output of a Hero3+ camera to feed into a studio broadcast system, and when it didn't work the response was "it's not supposed to".  The Hero3+ (and I presume the Hero4) do have ways of sending video over wifi so that you can get a vague idea of what the camera sees, but it's nothing like full resolution.  So the first "no" is that you cannot really extract good video from the GoPro in real-time.  You have to record it and them dump the card.
The second "no" is that 120fps is just barely starting to be supported at the video transport layer.  Yes, people have been talking about gaming consoles that can achieve 120+ fps for some time, but actually driving that kind of speed to a monitor?  Very hard.  And impossible with the HDMI output of the Hero4, which is limited to 60p: https://gopro.com/support/articles/hero4-hdmi-output-information
The third "no" is getting that 120fps input into your computer.  There is screen recording software that can scrape 120fps output from your GPU, but recording 120fps of 720p (or greater) is still a very specialized thing that's outside your "cheap recording and instant replay system" parameters.  There are video capture cards that claim 120fps recording, but they are cheating: they are multiplexing 4 SD signals (thus really recording 4x 30 fps and calling it 1x 120 fps).

thanx for this feedback! Do you have any other hint how something like this could be achieved? In theory we need a simple (and unfortunately cheap, since we're on tight budget)  video review system for sports referees. Gopro + computer was just one of the ideas - we actually need two cameras of whatever brand and type (to cover 2 angles) and a possibility of instant replay. The more FPS would just allow us better picture when viewing in slow motion.

Change your workflow to accommodate your technical limitations.  Record into the GoPro cameras.  When somebody calls for a replay, call a technical time out.  Stop recording.  Pop the microSD card out of the GoPro and into a computer-connected card reader.  Open up the most recently recorded video file, scroll around to what you are looking for, set in and out points, and then loop the result until refs are satisfied.  Then pop out the card, reload the GoPro, and start recording again.  Not exactly instant, but definitely low cost.

About 10 years ago we made similar solution for one tournament with two cheap miniDV camcorders (576i), connected to one average computer via firewire and some open source security/surveillance camera software (cant remember the name of it). Solution worked great (for that time) except video was a bit poor when viewing it in slow motion (interlaced, a bit blurry image). I guess that after 10 years of progress there should be some better solution available today. We need instant replay so stopping, transferring the microsd card into computer, browsing clips, seeking, ....etc. is not an option.

In the past 30 years, we have progressed from Rec. 601 (https://en.wikipedia.org/wiki/Rec._601, published 1982) which could encode interlaced video at 625 and 525 lines.  We can now encode 1080p at 50 or 60 fps: https://en.wikipedia.org/wiki/SMPTE_424M

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Issues with uncompressed video in edting software
I want to create a video from a collection of sequences I took with a light portable camera in 1080p. Because the sequences are quite shaky I used VirtualDub/Deshaker to process the video files and stabilize them. The output from VirtualDub was saved in uncompressed AVI (around 10GB per minute). I thought that it would be better to continue in raw in the video editing software and then to re-compress only once the end result is ready to export.
The problem is that video editing software tools seem to have a lot of trouble playing back my uncompressed video sequences. I tried Movie Maker without success and then thought a more pro tool such as Lightworks would be better. However both tools struggle playing back the video. The PC I use is a high end i7 desktop with 16GB ram but it looks like the bottleneck here is the hard drive.
Is there a better way of keeping the quality of the video between VirtualDub and the editing software, perhaps a lossless video codec ? Or is there something I'm doing wrong here ?
Thanks.

In addition to my question I forgot to mention that VLC also had issue playing back the uncompressed video. And I often read that pro video editing should always be done in RAW and compressed only at the end for distribution. Therefore I'm wondering what I don't get here ?

The limitation is certainly the disk I/O, which at 10GB/min is outside the capabilities of all but very high-end disk subsystems.
It's generally true that you should work at the highest bit rate and bit depth your system is capable of so you have the headroom for processing, but your system simply isn't capable of working at the rates your asking of it.
Determine what you need as the end result and pick a reasonable level above that for editorial. Uncompressed 1080p is way overkill if your target is YouTube, for example. Usually, choose an all I-frame (no interframe compression) format and a bit rate that will allow your system to handle two or three streams at once. If your disks can handle 60MBytes/s random access, it can play 3 80Mbit/s sources for compositing, and so on. That's more than needed for all but the most demanding targets.

Thanks for your answer. When you say all I-frame compression do you have a specific codec in mind? And would that be supported by VirtualDub? Probably not out-of-the-box since it does not offer many options but with a plugin perhaps?

One common mid-range intraframe codec is MJPEG. It's pretty much what it sounds like: every frame is compressed individually using JPEG compression, using some chosen quality value. At the higher end you have ProRes, which may not be available for free and may not work with VirtualDub.

Or don't delete the AVIs yet. Download ffmpeg and convert them to H264 baseline profile at a high bitrate (say 30 Mbps or CRF 10-12). Cellphone videos are 15-20 Mbps to begin with. Common DSLR/GoPros record at 30-80 Mbps. So, encoding at 60 Mbps or higher for such sources won't provide any tangible benefit.

I tried using the x264fvw encoder (http://sourceforge.net/projects/x264vfw/) with VirtualDub in order to compress my output with the highest possible quality as described in the answer/comments above (I-frame only, baseline, high bitrates), however it does not work and the process stops with errors every time. Then I tried Handbrake to encode my raw output to high quality H264. This works ok but the main drawback is that it is now a 2 steps process.

@Mulvya As mentioned in my previous comment I used Handbrake to encode to H264. In the video quality options there is a slider that can be moved to lossless (RF 0). Is that solution equivalent to the ffmpeg conversion tool that you proposed?

It is. Both use the same library for H264 i.e. x264. Lossless mode isn't necessary, though. For one thing, the pixel format will be YUV444, so check whether your editor accepts the file. And in any case, RF 10-12 is usually usable.

If you have a high-end i7 PC desktop, you probably have the infrastructure to set up a high-performance RAID that can handle your I/O bandwidth requirements.  10GB/min = 167MB/sec, which a really good 3.5" disk can almost deliver.  If you stripe 2 such disks together, it's an easy target to hit (as long as there's no other I/O contention).  So, have your system disk handle your OS and application house-keeping, a 2-disk RAID as the source for your uncompressed video clips, and the additional disks (or RAIDs) for other video sources and/or rendering destinations.  High-performance spinning disks have never been cheaper...
Alternatively, there are good intermediate codecs that compress lightly enough to be good for video editing.  Apple ProRes 422 has become a kind of standard (at 1080p24, 422 Proxy = 36Mbps, 422 LT = 82Mbps, 422 = 117Mbps, 422 HQ = 176 Mbps).  ProRes 422 HQ is about 1/8th the bandwidth of your uncompressed source.  ProRes 4444 is 264Mbps, which is still about 1/5th the bandwidth of your uncompressed source.  ProRes 4444 (and even ProRes 422 HQ) are industry standards for source-level editing.

Thanks for your answer but it brings new questions. What tools can be used to compress video using these codecs? Anything compatible with VirtualDub? Moreover, I also have concerns about the support for those codecs in video editing software tools. Would Movie Maker support such format or I would need a more professional tool?

You should be able to use ffmpeg to convert to ProRes: https://transcoding.wordpress.com/2012/01/29/prores-ffmpeg/

you can select the clips, right click and select make proxies under media. this will render low quality versions of your clips to work with. It will take a while with those large files, but after that you can work fast. your playback will be of lower quality, but the export will use the original files (so this will also take quite long).

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deinterlace on the fly with an external recorder
Is anyone aware of an external recorder that can deinterlace on the fly? I know that the Shogun can downconvert 4k to 1080p so that you retain more sharpness, and the Pix devices can also do similar things as well as changing framerates and removing pulldowns.

The Blackmagic Design Tenarex 2D will convert a signal from interlaced to progressive on the fly: https://www.blackmagicdesign.com/products/teranex/processing
It doesn't record, but there are very inexpensive recording devices that will take a progressive signal and give you a digital asset from that (such as the HyperDeck Shuttle: https://www.blackmagicdesign.com/products/hyperdeckshuttle)

know of anything smaller? im thinking of an on camera solution; sorry should have mentioned that in my post


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how to do the video commentary with you in the corner of the screen?
I've seen a lot of let's plays were the person will comment on the game while they're in the corner of the screen doing their reactions. I am wanting to do this for a video I'm working on but I'm not entirely sure how to since I'm not doing a let's play review and not very familiar with editing videos. My friend says I need a web cam but I can't afford one and I don't know if there's a way for me to just use a regular camera and upload it from that. Plus I don't if the program I'm using (iMovie) even has the ability to do this.
Can someone please help me?

Is this for YouTube or are you trying to Livestream on Twitch with it?

Since you didn't answer @Ryan's question, I'll assume your talking about video editing, not live streams.
What you're talking about is a very basic editing technique called a video overlay. Obviously, you're going to need two video recordings for that, one of which is the screen capture. There are several pieces of software out there that will record your computer screen while you play your game (or whatever you're doing), e.g. fraps. The second video is the one that shows you. To record that, you will need either a camera or a webcam (careful with the latter, those usually provide poor quality). You record yourself, copy the video files to your computer (or connect the camera to your computer and have it save the recording directly to your hard drive) and import them to iMovie. Then you just have to put one video on top of the other and you're done – even though iMovie is a consumer-centered software with not that many features, it's sufficient to do video overlays. Here's a simple tutorial:

If you want to do that as a live effect while streaming, the required software and setup is a bit more complicated – there are several good tutorials out there.


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Shooting .mp4 with the CANON EOS 600D
Please help. I need to know if I can shoot videos with my CANON EOS 600D in mp4 format. I don't want to go full HD .mov. I just want the camera to record small .mp4 videos - in order for me to load the footage onto a website immediately after shooting. Any advice will be great. Thanx

You can find the manual for your camera here. What you're looking for is how to change the resolution and frame rate of your recordings, you'll find instructions on that on page 150. (Some Canon camera models also have an option to change the bitrate and the compression mode; I didn't find any information on that in the manual, so I assume it doesn't have those options, but you should check that on your camera). A lower frame rate and resolution will result in a smaller video file, but keep in mind that this will also reduce video quality. I would recommend you record a high-quality video and use some software to export a smaller version to upload onto the internet later on. There are several free programs that will alow you to do that.
.mov and .mp4 are only file containers (check my answer here for a detailed explanation). If your camera doesn't have an option to change the used container format (which the Canon camera models I know don't), you're gonna have to live with whatever it's offering you. Again, you can reencode a given recording into a different (container) format (pretty easy) or remux it (slightly more difficult) with free software.


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I'm trying to match a title effect, and can't work out how it's done? Can anyone point me in the right direction?
Im trying to match the title and information background from a how to video...

It's the light beam background from 0:05 - 0:09 and also the animated light background from 0:10-0:17
I have tried experimenting with lens flare, and have searched the net, but can't find any help on how to achieve it. I'm quite new to After Effects, and am looking to learn, but I just need pointing in the right direction on what to research to achieve the effect.
Any help you guys could give would be much appreciated
Many thanks
Ben

Looks like a basic lens flare effect to me, with after effects

Looks like a standard preset from the Optical Flares Plugin from VideoCopilot. You have a lot of control with that plugin, shouldn't take long to replicate the effect with that.
https://www.videocopilot.net/products/opticalflares/

Could also be the Shine plugin (made by Red Giant) through some narrow shapes.
http://www.redgiant.com/products/trapcode-shine/


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How to get audience audio in a small conference/training for 40-80 people?
What is the best way to record/capture audience audio when questions asked or interacted with the presenter without passing secondary mic hand to hand?
Currently we have a presenter's mic that is going through audio board and on camera mic that captures general audience audio. But it creates a bad audio as camera is placed at the back at the room.
Has any one tried placing mics around the room to capture it? Any solutions would be greatly appreciated.

possible duplicate of Capturing room audio (audience questions/comments)

this used to be AVP for Audio Video Production but now Audio has its own. I flagged your question to be migrated there. http://sound.stackexchange.com

Here's a video that covers everything you need to know about sound recording for video: http://nofilmschool.com/2015/08/24-sound-basics-will-help-you-lay-sturdy-foundation
If you don't have 18 minutes to spend, the specific answer to your question is that basically you cannot capture well the human voice when a mic is more than 3 feet away.  Even if you use a high-quality mic and a high-quality pre-amp, the quality of your audio will drop precipitously as you break the 3-foot rule.  (There are exceptions such as professional singers and actors hitting PZM stage mics, but even that is not great.)
If you place mics around the room in such a way that nobody has to throw their voice more than 3 feet to reach a microphone, then you might have a solution.  But that might require 20-40 microphones, and an audio system capable of recording 20-40 inputs simultaneously.  Impractical.
Alternatively, you could have 3 mics, one for each zone of 15-30 people, which you can rapidly run to whichever audience member is trying to speak.  When they hold the mic (at least 1-2" from their mouth and at most 3 feet away), you should get fairly good results.  That would require an audio system that can record four tracks simultaneously (one for the podium mic and 3 for the audience mics), which is very simple nowadays.

Appreciate your input so much, and pointing to a good source. I guess I am looking for omnidirectional mic that I can place it in the middle of the audience on a stand and run through the audio board then connect to the camera.


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Can't get audio and video speeds to play at original speeds
When I import audio and video from different sources into a project, I can't get them to play at the corrects speeds.
For example, if I play the video in vlc player, it plays fine, if I play the audio file in vlc, it plays fine. But when I import the audio and video file into lightworks, either the video plays fine and the audio plays fast, or the video plays slow and the audio plays fine.
How do I get both the audio and video to play at the correct speeds at the same time?

Sometimes this will happen from a verity of reasons. Sometimes the clocks are different. A lot of time it comes down to manual re-syncing.
Pick 2 sync points for the Video and the same 2 points for the audio. Make sure they are as far away as possible. Now divide the duration in frames between the 2
V dur / A dur = ratio

Now you have the ratio you should speed up or slow down the sound (sound is more pliable). Good Luck!


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Is it possible to automatically generate highlights from a video using sound?
I am looking to create an automatic highlight tool to generate highlights using sound, for example a sporting event would have an important part when there is a louder sound so, that part should be included in a highlights package.
I am presuming that this would be possible, but are there any APIs/libraries for any programming languages in which this would be ideal to develop?


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What type of tripod head should I get?
I recently got a tripod, and I need a head for it. I would like to try a variety of video, so looking for something that allows moving the camera smoothly.
There are a variety of types of tripod heads available. eg ballhead, pan and tilt, geared heads, or fluid heads. What are the differences between these, and which is most useful for video?
I will also be using the tripod for some still photography, so would be good if the tripod head is also suitable for that.
What other features are worth looking for in a tripod head?

What kind of tripod is it?  What kind of video cameras are you thinking of using?  Are you primarily using the system indoors or outdoors?  Is it something you need to carry with you only for 15 minute from car to site, or for days as you trek into the wilderness?

There's really two main types of film heads; pan/tilt heads and ball heads. There are a lot of other features you can get in tripods, for example, fluid heads. A fluid head is definitely something you'll want for video if you can afford one. They provide much smoother panning and tilting motion while operating the tripod. Geared heads allow for much more precise adjustments, but aren't that popular due to their weight and cost.
A pan/tilt head is the most common. They allow for smooth and controlled camera motion, but are limited by constraints of the different pieces, making them harder to adjust perfectly.
Ball heads have a much wider range of motion than pan/tilt heads, but their design makes smooth and controlled camera motions much more difficult.


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At what point is HD content downgraded to SD from a service provider?
Is the High Definition (HD) content provided by cable companies through fiber and copper downgraded, to Standard Definition (SD) at the cable box?

My cable provider uses separate 'channels' for SD and HD content. No idea whether they get them that way from their providers, but for sure they're not downrezing in the STB.

I would assume that video would be very similar to images. You can't upscale without quality loss. Satellite (HD) => Receiver (HD) => Line - Fiber (HD) => House - Copper (HD) => Box (HD) / Downgraded to SD => TV


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Auto detect and auto pan to ball in video
I'd like to set up a 4K video camera in the corner of a soccer field and just let it record. Afterwards I'd like to use a video editor to zoom into a smaller (1080) area where the ball is and auto pan to follow.
This takes too long to do manually. Do you know any software that will track the ball (or movement of people) and zoom into that area generating a 1080 or 720 output of the action around the ball? If not automatically, any suggestions on the fastest/easiest way to do this?

You could do it in real life by attaching a transmitter to the ball and having a robotic pan/tilt tripod head track the movement.  If you're shooting 4K, your budget's probably in line with something like soloshot. Or, of course, you could pay a cam-op.  Taking the time (or paying someone) to track it in Mocha or AE will end up being more expensive than capturing the moment as it happens.

You can track movements of the ball (if it is not covered with something) with After Effects, or better with Mocha. After that just zoom and lock the center of your video tho the ball. However your video will be really shaky. Ball will do lot of little moments, so you need to smooth your video shake.


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Moving video slices in timline in Sony Vegas
I am completely beginner in montage.. I started with sony vegas pro 13... my problem is : when I drag a slice of a video in timeline it return to its place automatically
I mean that I can't change its place in timeline
I tried to search google a lot but nothing.
Sory if it was silly question

Check if the video clip is locked (right-click on clip and go down to the Switches sub-menu and see if Lock is ticked). If not, check the same for any other clips with which it is grouped (like its associated audio or any other clip). You can check if it is grouped by looking in the Group sub-menu in the same dropdown.


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My Sony Vegas keeps crashing on running it
This is a very frustrating problem:
My Sony Vegas 13.0 crashes instantaniously after running it. It doesn't even show the loading splash screen. It gives this error message:
Problem Description
Application Name: Vegas Pro
Application Version: Version 13.0 (Build 453) 64-bit
Problem: Unmanaged Exception (0xc0000005)
Fault Module: C:\Program Files\Sony\Vegas Pro 13.0\vegas130.exe
Fault Address: 0x00007FF72E7DA710
Fault Offset: 0x000000000081A710

Fault Process Details
Process Path: C:\Program Files\Sony\Vegas Pro 13.0\vegas130.exe
Process Version: Version 13.0 (Build 453) 64-bit
Process Description: Vegas Pro
Process Image Date: 2015-06-05 (Fri Jun 05) 13:53:04

I have no idea why it suddenly started doing this. Maybe it has something to do with my recent Windows 10 update. The same thing is happening with Sony Vegas 12.0

This question appears to be off-topic because it is a bug report and not an actual question. Check your drivers and report this to Sony instead.


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Audio Sync Issues on playback via thumb drive
I've got an audio sync issue with a .mov file during playback via thumb drive on a samsung tv. I exported the clip using QuickTime Conversion, H.264 compression with 48 KHz for the sample rate.
I am currently using the same settings on multiple clips on the same playback devices (Samsung tv) all other clips are working fine.
Anyone know if there is a different compression type I should use? I'm not sure if that is the problem since all other clips are working fine. The sync issue has just started today.
The original video sources are being ripped from YouTube.
TIA!
Mike

What's the data rate of the video clip? Does this happen on a particular thumb drive?

The answer stems from the combination of the speed of the flash drive and the data rate of the video. The video and audio in most codec are decoded separately once streamed to the computer from the flash drive. Now when the flash drive can't keep up with the speed the video is supposed to be playing then the audio or the video get ahead because the flash drive cannot serve both at the same time. Time for a faster flash drive.


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Problems occurred when importing subtitles into Sony DVD Architect
I'm new to Sony DVD Architect, I can't import subtitles into DVD-Arc even though the file extension is .sub. I used Subtitle Edit to save my original subtitle file(in .ass format) to DVDSubtitle(.sub) and Sony DVDArchitect(.sub), but it shows this error :

"Warning: An error occurred while opening one or more files. The reason for the error could not be determined."

I then tried to save the .ass subtitle to DVD Subtitle System(.txt), it works, but it shows a bunch of symbols instead of the proper characters (I'm preparing  chinese subtitles by the way). The subtitles encoding is UTF-8, but it still cannot display chinese subtitles.Why?


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What is this name of the video effect?
I got this from les mesirables (2012) movie. in this scene, guy singing, but camera blur all his around, focusing only on him.
so What is this name of the video effect?

Shallow depth of field or focus.

Note that things are out of focus because they are farther from the camera. That means that if something is just as close as the actor is, it will be IN FOCUS. When you shoot a shot with a shallow depth of field, you will get a better effect if the background is far from the camera and the subject (the guy singing) is close to the camera.

Mulvya is right - it's shallow depth of field, achieved by having a lens with a wide open aperture, corresponding to a low F stop number.


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Software to move graphics over another. i.e. a bus over a map
I want to portray the tour of a group of students from the Uni to an exterior site and back.
The idea ist to have a map (static or scrolling) and move a picture of a bus on it.
The look is supposed to resemble a cut out bus being moved of a paper-map.
I am looking for a suitable (free) software to do this.
I am also open for other suggestions to achive that effect.

Any video editing package is likely to be able to do this, or you could even manually do it in paint and then stitch the images together.

You could try stop-motion. Basically your taking a pic of the bus everytime you move it on the map, then putting it together as a sequence in your editing program. Bout the only free way I can think of

I see that you have some Java experience from your profile. You could use Processing, a Java framework used to teach artists and designers programming and geared toward creating animation, video, graphics, and the like. There are many examples on the site that demonstrate basic animation, displaying images, etc. processing.org


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After Effects: Increment a Variable over time
I have following problem:
I am trying to tweak the speed of a Math.sin function. Therefore I need a variable that incerements over time with a combination of a keyframed speed variable.
Sounds complicated, I know.
Let's say I am using the global time variable and convert it with the timeToFrames() function I get an integer value for each frame.
myTime = timeToFrames(time);

This leads me to a value of 1 for Frame 1, a value of 2 for Frame 2, and so on.
But what if I want to manipulate the increment. For example:
//speed (gets tweened from a certain value range,for example: 10 - 1)
s = (some connected slider here)

myTime += s;

If I have a speed of 10 at Frame 1 I would get a value of 11. If I have a speed of 8 at Frame 2, I would expect a value of 11 + 2 + 8 = 21.
What I get is only 2 + 8;
So I need to store the value at every frame. Is this possible?
Please help.

You can calculate the value by creating a new variable var x = 10; or dynamic: var x = value and use the addition assignment operator +=  (x +=  5), but this is just the shorthand of x = x + y.

yeah thats what I am doing at the moment. The problem is, if I add 10 to x at frame 1 I get for example 11. On frame to it should automatically incremnt by 1 again + the value of my choice. But on frame 2 after effects already forgot about my 11 and it simply goes on wiht a value of 2 plus my variable. You know what I mean?

Can't test it at the moment... but what about creating an additional var lastframe = yourCalcValue; or calculate both values from the current and the last frame at once?

@poor sounds interesting

You can loop over the range of frames from the start of the comp to the present and calculate the value along the way.
function myFuncf(theTime){
 //whatever the function you're using to create the value, e.g.
 t=theTime + s.valueAtTime(theTime); //s is the slider
 return t
}

firstFrame = timeToFrames(inPoint); //if you want it to calculate
                                    //from the beginning of the comp
                                    //change this to 0, or maybe 1?
                                    //I'd check but I'm rendering ATM

mytime=0; //initialise the mytime variable

currentFrame = timeToFrames(time);
for (int i=firstFrame; i <= currentFrame; i++){
  mytime += myFunc(framesToTime(i)); //need to convert frames back into seconds
}

after the loop myTime should be the sum of the results of function myFunc from all the previous frames up to and including the present one (I'm not 100% sure if the loop should end when i < cf or i <= cf, you might want to test).
note first time I posted this there was a mistake. Where I called the function I was giving it frames (from i the loop variable), but it uses valueAtTime which expects time in seconds, so you need to convert: mytime += myFunc(framesToTime(i));
If you have a long comp or this is applied to lots of layers, this expression may become slow to evaluate and cause lagginess. If it becomes a problem convert the expression to keyframes.

If anyone is still looking for a solution that wont blow up computation times, I found this workaround using environment variables which will store values outside of the script context.
The if statement will define the Env-Variable at frame 0 and afterwards increase and use the variable each frame. Note that x could be any value. In my case it was an audio amplitude effect slider value.
if ($.myEnvVariable == null){
    $.myEnvVariable = 0
}
// x = value from slider
$.myEnvVariable = $.myEnvVariable + x
$.myEnvVariable


text:
Are there any small battery powered 360 degree cameras capable of a native "google cardboard" format output over HDMI connection?
The question is really part #2 of the following project:
I'm looking into

mounting a 360 degree camera to a drone to get a view like this
camera captures and can output the video like a webcam in "google cardboard" format to a transmitter with a HDMI port
transmit the video to the ground using a HDMI input from the drone to the ground like a regular HD feed
allow a user to watch the feed from the receiver on the ground using google cardboard
when the user turns his head, the video should track the head movements

This is all do-able if you record and post process but I haven't seen anyone do it for a live stream. The closest would be the TEDxAMSTERDAM which utilised a bunch of camera outputs to stitch one big 360 degree output and live stream that.
I figured if you already had the output of the camera in "google cardboard" format, you could cut the post-processing out and serve it live. Are there any such camera


text:
ffmpeg, first second of cut video part freezed
I use this to cut a part out of a mp4 file:
ffmpeg -i input.mp4 -vcodec copy -acodec copy -ss 00:36:18 -to 00:39:50 output.mp4

It works good but the video image is always freezed in the beginning for 1 second.
Doesnt matter which video file I try and cut a part out of, it takes like 1 second before the video start.
Heres an example:

Why?

It seems your youtube link is down, could you please keep the example live such that the question remains useful for future visitors?

The order of the parameters is very important on ffmpeg.
Try this:
ffmpeg -ss 00:36:18 -i input.mp4 -vcodec copy -acodec copy -to 00:39:50 output.mp4

It seems that setting the -ss parameter before -i sets a keyframe at the beginning of the newly generated video.
Or so I understand from the Wiki page here.

Minor note: That's the wiki, not the official documentation. The wiki articles are written by users to supplement the docs, so they may contain less accurate information.

This was the answer which helped me to solve the issue.

The video freezes because you aren't cutting at an I-frame, while using stream-copy mode. You'll have to re-encode the video, or choose a different start point, which happens to be an I-frame.

Is there any way to easily locate an I-frame in order to perform the cutting with ffmpeg?

See this - http://stackoverflow.com/a/17688356

Thanks you, but this other one solved my day: https://trac.ffmpeg.org/wiki/Seeking (just change the order of -ss in the command line).

What works for me was:
ffmpeg -ss 00:01:00 -i video.mp4 -to 00:02:00 -c:v libx264 -c:a aac cut.mp4


text:
best tool to use for vine production on windows
I want to create a vine on my laptop bit not sure which software to download to do it as most of the ones I have come across look spammy and don't want to kill my computer with virus's.

Possible duplicates: http://video.stackexchange.com/questions/2274/good-open-source-video-editors -- http://video.stackexchange.com/questions/16254/easy-to-use-video-editor -- http://video.stackexchange.com/questions/9221/video-editor-suggestion

if you´re using Windows you can use / download MovieMaker, and just import your clip and start to editing in most commons formats & if you have a mac imovie does the job also , those are "defaults" software and are pretty intuitive and in a sort way "basic".


text:
Is there a simple explanation of x264 encoding parameters?
So, x264 is still the most popular (free) H.264 encoder out there. But it is also still considered ridiculously cryptic as well. There are tons of switches and options in the encoder that allow you to create tiny files that capture an impressive amount of quality.
I have looked over the ffmpeg wiki, the VLC wiki pages for x264 and the very academically written PDF, but there's no realistically easy quick reference guide for x264 that I've seen that lets people understand, for instance, why when you unparse the encoder options for the x264 -tune option set to "none" is
x264 Unparse: level=4.0:ref=1:8x8dct=0:weightp=1:subme=2:mixed-refs=0:trellis=0:vbv-bufsize=25000:vbv-maxrate=20000:rc-lookahead=10

but the unparsed x264 -tune option "film" is
x264 Unparse: level=4.0:ref=1:deblock=-1,-1:8x8dct=0:weightp=1:subme=2:mixed-refs=0:trellis=0:psy-rd=1.00,0.15:vbv-bufsize=25000:vbv-maxrate=20000:rc-lookahead=10

And I know that the secret (as it were) to getting great quality is using constant rate factor (CRF), I'm still interested in knowing how best to tweak these esoteric options if it makes sense.
Here are some example situations:

A live-action video, fast cuts throughout, but shot at 24 fps.
An CG animated video, longer cuts, rendered at 30 fps

Using the same generic settings in x264 would provide two different outcomes, obviously. But what options outside of -tune would you turn to for being able to effectively set x264 on the task for the best possible outcome?

The idea of the 'tune' and 'preset' parameters is to save the user from having to know and tweak the individual parameters. If you wish to customize it further, I'd suggest reading up the entries for each individual parameter and experimenting. You can also browse threads at VideoHelp and Doom9 for discussions related to x264..


text:
How to skip to the next video with the "Next" button in Sony DVD Architect
I inserted 10 media in a DVD project, each video has its scene/chapter markers at the beginning and 3 minutes before the end. While I preview as disc, the "Next" button works fine when skipping from beginning to the end, but it somehow doesn't skip from video_1's end to video_2's beginning when I pressed the "Next" button. It seems to be only skipping chapters in a single video, and doesn't skip to the next video.
One more thing, it can start video_2 when video_1 reached the end, because I set the end action of video_1 navigate to video_2's beginning. So it sucks because I need to wait until it ends instead of skipping to the next video :(
Could this problem be solved? Or is there any other way to do that? Thanks a lot.


text:
Black line in certain videos?
Here are few screencaps from different sources:

Bleach 170:

Bleach 297, where 16:9 episode actually used 4:3 material in one reminiscence scene (they even animated the black bars) - poor source material?

Xena the Warrior Princess:

Finally a Youtube video:

If you look closely, each of these frames contains a thin black line near the bottom, or in the case of the Youtube video, near the top. The line spans about 60% of the video width. What is it and why is it there? Is it used for some kind of calibration?

The first anime pic is throwing me off, but it seems to be an artifact of how interlaced analog signals were structured and displayed.

For analog NTSC there is a total of 525 scanning lines of which
  originally 483 lines were visible (241.5 visible lines + 21 lines of
  vertical blanking per field)

Update: this answer at the electronics site gives the full picture.


text:
Adobe Premiere Pro CC(2015): Cache edited clips
I was wondering if there is any way to cache clips that have been edited in Adobe Premiere Pro CC. I have my main computer and then I have my laptop. I take the laptop out of my house often, and as you can guess, any footage I need to edit is stored on my main computer. Now, I don't want to make low-resolution copies because I don't have very much space on my hard drive (120GB) but caching would be great because when I come home I can just delete the cached files. If there isn't a way I can just make low-res copies, but I thought I would ask first.
Thanks in advanced!

maybe if you used the Adobe Creative Cloud you could upload your footage to it ... if you have an account with them and if you a fast-enough internet connection. otherwise, make lo-res proxies and edit from a USB-3 external drive (since it sounds like you have limited space)


text:
Can't add effect to master clip on Premiere Pro CC
I am trying to add an effect to multiple pieces of video on the same sequence.
The sequence contains:
-10 .mov videos divided in a plenty of small sequences
-pictures and titles
I followed step by step the instructions of this video https://helpx.adobe.com/premiere-pro/how-to/apply-effects-master-clips.html and this guide https://helpx.adobe.com/premiere-pro/using/master-clip-effects.html  but when I try to drag the effect to the source video or to the "project:" videos, the "hand" has a denied sign, meaning that the effect can't be added.
What can I do? Am I doing anything wrong?

Most probably you don't have latest version of Adobe Premiere CC. As far as is concerned this feature is added in Adobe Premiere CC 2015.
I have older version (version 7.0.0 (342)) and that feature still missing in that version.
You shall update your Adobe Premiere CC till the latest version.


text:
How do I get Stereo + 5.1 for YouTube videos?
Youtube states that it only supports Stereo or Stereo + 5.1.
How does this work? Does it mean that there should be two audio streams included in the container or is this a special encoding?
( I am using Premiere Pro )

It's not very clear what they mean. If you look further down on the same page it says it accepts 5.1 @ 512 kbps.
Recommended audio bitrates for uploads

Mono    128 kbps
Stereo  384 kbps
5.1     512 kbps

YouTube doesn't currently support 5.1 playback. If you upload a 5.1 audio track it gets converted to stereo.

The threads are all 3 years old though.

There are no news for the contrary either. Anyway I tried downloading a surround test YT movie in multiple formats (aac, vorbis - audio only and aac in mp4) with youtube-dl and they're all stereo. If you upload your own test file I can probe it for you. In any case stereo + 5.1 can only mean two separate audio tracks (someone even suggested binaural audio :)

Ok, I will try that and see how that works out. I'll keep you posted.

The two major platforms that YouTube video players use are Adobe Flash, and Adobe Air. Flash 11 only supports 2 channel audio. Adobe air 3 supports multichannel audio. Also HTML5 supports multi channel audio. most multichannel streams will be PCM no bit stream, as you need licensing from Dolby or DTS to encode/decode. Furthermore multi channel audio is only supported for TV devices, on all other devices hasMultiChannelAudio() always returns false. This is probably due to HDCP / DRM requirements by publishers. Finally many smart TVs, especially Samsungs, will only send 2 channel audio from the optical output (again HDCP/DRM reasons). So you need to be sure what player / equipment you are using. A smart TV using ARC (audio return channel) to a receiver will have multichannel YouTube audio.

if you upload in ac3 it gets converted to he-aac it wont play back from youtube in 5.1 but youtube-dl will give you back a 5.1 track


text:
How to composite live 4K video with prerendered alpha matted footage
I'm looking to take a 4K live video feed, and composite alpha channeled footage on top of the live footage, all in realtime with minimal latency, I then want to display the output on a 4K screen .... Any ideas of the technology and equipment nesasarry to make this happen

Have you looked in to the software wirecast pro?

I have a Blackmagic Design DeckLink card which, with bundled software, provides live keying.  I bought that card before they sold a DeckLink 4K cards.  But because they come withe the same bundled software and make the same live-keying claims, I would check that this version first: https://www.blackmagicdesign.com/products/decklink/techspecs/W-DLK-04
You should be able to ingest two channels of 4K video, key it, and output the keyed result in real-time, for $995.  It does require you to have free PCIe card slots in your computer.
An entry level 4K switcher (that gives not only pre-rendered alpha matted footage, but also transitions and chroma key) runs $1,695, and runs stand-alone (i.e., not a card in your computer): https://www.blackmagicdesign.com/products/atem/techspecs/W-APS-04


text:
do starting a youtube video production require huge budget
We want to start our own 1st youtube channel we will create in house videos from hd camera but before that we need to get an estimation of capital required in video production anyone who is well aware and already own a channel please give us some tips
thank u in advance

Video production can cost 0 (the team pays it all), 50 (hey, burgers for everybody), 1,000 (cool, we can hire a sound producer and more), 10,000 (your van will pick you up at 7AM)... etc...

The simple answer to your question is "No, starting a YouTube video channel does not require a huge budget."  There are YouTube channels that consist only of videos made using smartphones.
If you want to shoot for higher production values than that, you should be more specific in your question and you might get a more specific answer.  But the simple answer is: if you have a smartphone with video capabilities, you can start a YouTube channel with just that.

hi there thank u for your reply but the visual effects, animation, etc some people put on their videos are not only from smartphone camera if i m right they are using some software or any other service to achieve these can u suggest something more tools

There are at least 5 free tools that can do visual effects, animation, etc: http://opensource.com/life/15/1/current-state-linux-video-editing


text:
Live streaming to a disk
Not sure if this is the right place to ask this question (pretty technical), but I thought I'd start here.
I'm interested in building a website that will have a streaming-video feature. It's not quite live video, because the videos will only be available after they have been reviewed. However, I would like the videos to be viewable on demand (ie, I don't want there to be a waiting period for them to be uploaded and encoded, like Youtube).
Basically, I'm wondering how to live-stream video directly to a server, so that it is being encoded on the fly, and can be watched as soon as the stream ends.
Thanks for your help!

If you can run the python app youtube-dl you can capture on the fly. You'd just need a way to tell it to end and name it something meaningful.

If you’re up for building your own server, and have some coding skill, then you could look at setting up a nginx server running the RTMP extension that can capture an re-stream live or on demand video. It can also do near realtime transcoding or "at completion of capture" transcoding using ffmpeg.
For the system I setup, I send live video in using an IP based camera system from multiple sources that can do RTMP streaming, or if I want to capture desktop content like a video game I use OBS to do the streaming to the server.
The actually user website itself runs from a node.js based system that has access to the content recorded by the nginx rtmp capture.
OR
You could look at a pre-build solution like Kaltura which has both a open-source community version and a commercial version. Think of it as your own YouTube server setup that has a tone of features ready to go out-of-the-box.

Why would you need the videos to be available instantly if they are going to be reviewed before making them publicly available anyway?
Reducing the encoding time comes down to server performance, which in turn comes down to money. Youtube has very much money, and still the server-side encoding of uploaded videos takes some time. I'm pretty sure they've done anything they can to reduce the waiting time as much as possible; I don't think you can do more with limited ressources and time. The only solution I see is to not reencode uploaded videos, which will get rid of that issue alltogether. However, this opens up another set of issues related to compatibility with various devices, high bandwidth usage on the visitor's side and problably security problems as well.
You can have a look at the streaming services provided by Twitch (which sadly still uses flash) and Youtube Live Events; both are very sophisticated systems, so I suggest using one of those instead of trying to build your own solution.

There are video services such as LiveStream and Ustream that provide such functionality.  It comes at a cost, but their fees are nothing compared to the cost of building a video distribution capability that scales beyond a few friends and immediate family.

YouTube is better and it's free. We've recently left those other platforms and we couldn't be happier.

Why don't you stream to YouTube? That's free. Make your stream/"event" private. Then it's ready instantly once the "event" ends because there is no waiting period. Then serve that embedded player on your website. This is very flexible and free (less camera and computer expense). No reason to build your own sever ... Maybe eventually, but the YouTube service will do a great job in the meantime.

Technically, you could map a network drive from whatever server you're talking about to your local machine, and then use something like a blackmagic h264 prorecorder to live encode a file to that folder. It'll be a completed mp4 when you press stop, and ready to view instantly.
But that's the easy part... What will your website look like? How will it function? Will you have automated routines to make them private for review then public after review? Will people have to login to review? There's a million questions on the website front end that are very difficult to engineer. That's why people have suggested to use other services that are very mature and have cost billions to put together.
Getting the video to the server in real time is super easy, it's the rest that's hard.


text:
starting new need help
The hope is to be doing interviews in breweries and restraunts the guy who was set to do it has bailed and so has his equipment amd knowledge. I was wondering whats the best starter equipment to get great audio and the software. Any list or links for help or equipmemt would be GREATLY apprecaited! Thanks again

For gear, I like this list: http://www.desktop-documentaries.com/cinematic-documentary-gear-package.html
For software (I assume for editing), Premiere Pro is very capable and easygoing on beginners.  Download a trial and see how you like it!
Bear in mind, that both take time to learn in order to produce quality results, so unless you're a quick study, or your project is very simple, factor the learning curve into the cost of doing it yourself.

I have Lumix G6 like in the article you provide. With same lens. That lens is 46mm in diameter, but article advice to buy with it Tiffen 52mm Variable ND Filter... Will it fit there? I am looking right now for filter, and that difference in sizes disturb me.

I'm not familiar with that particular filter, but for indoor shots I doubt you'll really need an ND filter.  Try some test shots in your target venues (or similar lit environments) without a filter and see if the footage works.

I am talking here about 46mm vs 52mm... It sounds like filter from the post will not match with camera from post...


text:
Rendering with swf files sometimes causes skipping frames
I mostly create simple infographic style animaitons with Flash then import them to Premiere to adjust timing and add extra effects.I know it is not a pro. way to work but it reduces rendering and esportting time for me. and i have to watch every movie i made from beginning to end many time.. With 4 eyes without any blink not to skip this error.
From time to time i had this issue when i export movie final movie has skipping repeating frames and even sometimes distorted green lines occur.
And the worst thing is that it happens randomly (or atleast not in a pattern so that i can say the cause)
I tried lots of export ways but it mostly happens..
Things i can count are..

Lower resolutions are fine almost nothing like this happens.
1280 and 1920 %80-90 it happens at some point.
Exporting mov seems like a solution but both then i have to convert again for mp4

Possible causes i can think of but cannot prove are.
Frame server might mix because of st. while serving swf frames to premiere.
Another software during render (st. like watching youtube or continuing editing with another soft like after effects, premiere, proshow or even flash) working background might cause this.
My graphic card might cause this.
My harddisk can cause this while writimng file to disk. (Not so sure because i also tried exporting to SSD system harddisk but again it happens)
Solutions i could find
1-Export as uncompressed mov then convert to mp4. Which both takes my extra time and disk space..
Intel Xeon 3.5 GHZ
32 GB ram
Win 10 64 bit
Dell precision T1700 workstation
SSD hard disk for system and softwares
1 tb internal Normal harddisk for workspace
Any idea is appriciated..
Thanx for all the help

This should be reported as bug: https://forums.adobe.com/thread/878528 (IMO).


text:
MP4 to DVD - suggestion for workflow
After a break of a few years I have started doing video editing again. So I bought Sony Vegas and later upgraded it to the latest version.
For this particular project my source files was created by two different devices: A Samsung Galaxy S2 mobile phone (mp4) and a Sony Cybershot camera (also mp4). The files from the Sony camera cannot be read directly by Vegas, so I have had to transcode them (they are still mp4).
I wanted to produce a DVD of this event (a birthday party), but when I render the project (to be used by DVD Architect) Vegas crashes for me halfway through the process.
I have of course reported this to Sony, but i don't expect any solution soon, so I was wondering if I was doing this the wrong way.
In this case - when the source is mp4 (and in a higher resolution than DVD) - would you suggest another workflow? Would it be better to transcode the files before I add them to the Vegas project?

That's weird.  I combined 2 video sources (iphone and Panasonic DMC-ZS1) into one in Vegas Pro 10 and they're not even the same size/resolution.

I can't understand it either. I have tried it in both version 12 and 13 (64 bit) and get the same error. It freezes and eventually crashes.

It's never a bad idea to have resolution and bit depth to spare during post but if you don't need the extras -- higher bit depth for cleaner effects / color grading, higher res for crop and blowup and so on -- then you can reduce the originals to the final output values with no loss of fidelity.

Thanks. In this case I should probably convert all the files to mpeg2 (pal dvd resolution) before editing. But what if I later wanted to burn a Blu-ray instead of a DVD? Are they any codecs/formats/containers that are more suitable to use as input to Vegas than others?

If Vegas has a proxy mode you could edit at proxy resolution and output at any resolution supported by the originals. And many editing systems let you use the decisions / timeline from your downscaled materials to later conform a version using the original materials. Since I don't use Vegas I can't say whether it allows either option.


text:
After Effects: Images on whole pixel still blurry edges
I am jsut working on a new After Effects Project. I have a bunch of images I am working with and I just wondered, why the edges of images are so blurry.
First I thought it might have something to do with the fact that sometimes, images don't lay on whole pixel. So I used an expression to keep them on whole rounded pixels. BUT! even when they are laying on whole pixels, they have unsharp edges.
My Question is, is there any Opportunity to fix that and in case you know how, could you please tell me?
Thanks in advance!

Could you please add an image to your question?

@poor I think I found the reason. Position was on even pixels but anchorpoint wasn't.

Ok, would be nice if you could write an answer.

So, I figured it out by myself. The problem was the anchorpoint. My images were on even pixels but the anchorpoint was odd.
So the solution is to use following expressions:
// Position
newX = Math.round(transform.position[0]);
newY = Math.round(transform.position[1]);
[newX, newY]

// Anchorpoint
newX = Math.round(transform.anchorpoint[0]);
newY = Math.round(transform.anchorpoint[1]);
[newX, newY]

UPDATE 2
Since I use this expression everytime now I am animating motion graphics, I thought it would be cool to make an actual after effects script of it. You can purchase it here:
FIXL -Snap Layers to Pixel
UPDATE
When you try to animate layers with these expressions, it comes to rough animations. That's why I wrote a new expression that only applies if a keyframe is set. So its safe that whenever an image or layer is resting on the same position for a longer time, it will stay on even pixels.
Add this Expression to the position property of your layer:
n = transform.position.numKeys
t = time;
timeOfKeyframe = null;

for(i=1; i <= n; i++){
    if ( t == transform.position.key(i).time ){
        timeOfKeyframe = transform.position.key(i).time;
    }
    else{
        value;
    }
}

if (t == timeOfKeyframe) {
    keyValue = transform.position.valueAtTime(timeOfKeyframe);
    roundedValue = [Math.round(keyValue[0]),Math.round(keyValue[1])];
}
else{
    value;
}

+1 Thanks for sharing your experience!


text:
Could you guide me to setup Live Http Steaming server with DashCast?
Personally I really dont like to ask such questions, but unfortunately this is where I am completely ignorant. I suppose to construct a live streaming server with DashCast over Apache Server. Presently, I setup DashCast but I do not know how to serve it through a web server Server. I guess after I deal with the server, I need to get it video by a Dash capable Javascript Client from the browser.
Would you suggest me any reference, pathway or anything for this problem? Any help is appreciated.


text:
Add noise to video while maintaining compressibility
I'm creating a promotion video that has to be uploaded to YouTube and Vimeo.
In post-production (using Final Cut), I've added a noise for aesthetic purposes.
This noise looks really bad on YouTube and Vimeo because these sites compress the video's you upload to them.
I know that (pseudo-)random noise is very hard to compress (almost by definition), so I was wondering if there exist noise filters that visually
seem random but are in fact not random, making compression on them easier and hopefully improving Youtube and Vimeo quality?

As you say, noise by definition doesn't compress well. You can try different types of noise in FCP. The Add Noise filter has several choices - Gaussian is a reasonable simulation of film grain, but you can try the other choices, too. They might compress better (or worse).
But your best bet is to increase the data rate of the resulting file. I don't know the limitations of YouTube or Vimeo, and your content may make it difficult to stay within their limits, but that's probably going to get you better results than trying to find some form of noise that isn't (as) affected by compression.


text:
How to split a large mkv file into parts with the *.srt subtitle file separated accordingly?
At UNIX command line, I use the mkvmerge command in MkvToolNix to split the large multi-GB *.mkv file into several parts:
mkvmerge -o out.mkv --split 1990M large.mkv

It generated out-001.mkv, out-002.mkv, out-003.mkv.
There is also a subtitle file large.srt.  Now I do I separate it into parts that will work properly with those smaller mkv files?
Another related question: how to incorporate large.srt into large.mkv first, and then split the resultant mkv file into smaller parts retaining the subtitles?

Add the subtitles to your large mkv file first. Then mkvmerge will split the file with the subtitles automatically.
To add the subtitles, the easiest is to use mkvmerge-GUI. It will also show you the command-line it uses. Or you can try something like this directly:
video="your_large_video.mkv"
st_en="english.srt"
st_fr="french.srt"
out="large_video-st_en_fr.mkv"

mkvmerge -o "$out" "$video" --language 0:eng "$st_en" --language 0:fre "$st_fr"

After that, splitting works fine and includes correct subtitles. I just tried it, and splitted by size and by duration. I'm not sure, but maybe the subtitle timing was preserved more exactly when splitting by duration (--split 1800s or similar instead of --split 500M).

On Mac, the GUI isn't available, or it is not obvious where to find it.

What is that 0:eng for?

@qazwsx ; The GUI is available with several installs but maybe not all. See https://www.bunkus.org/videotools/mkvtoolnix/downloads.html#macosx . "0:eng" specifies the language of the first ST track. It is OK to re-use the "0:" track number for following ST tracks; it is automatically converted to the real track number.

That's where I got the info about installing the command-line version of mkvtoolnix.  The complex usage info was not helpful enough for me to cook up the necessary command line to merge video file and subtitle file.  And there is NO GUI for Mac OS X.

@qazwsx : If you don't use Homebrew or Macports, get the binary from here: http://www.macupdate.com/app/mac/16837/mkvtoolnix . It's packaged into a normal .app and opens the GUI.

I did install via Homebrew.  It's not obvious to me how to start the GUI or if even that installed a GUI.


text:
video artifacts
My wife is using her Panasonic lumix to shoot video. She gets great shots of wildlife. The issue is that shots of flying birds, ducks or eagles or whatever is happening, appear to have 4 wings. Most shots are well lit. ISO is set to 100. Is there a setting to fix this problem?

Welcome to Video Production. Adding some example images to your question would help people to answer it. Sounds a bit like the "rod" phenomenon, which had credulous people convinced there were rod shaped insects that were invisible to the naked eye but not to video cameras: https://en.wikipedia.org/wiki/Rod_%28optics%29

It sounds like you're seeing motion blur. For stills you would increase the shutter speed. For video, you need to decrease the shutter angle. Essentially, the shutter angle determines how long the shutter is open for each frame of video. So for video at 30fps, it can never be slower than 1/30th of a second. But it can be faster!
For example at 30fps, if you set the shutter angle to 360°, you'll get 1/30th of a second for each frame of video. If you set it to 180°, you'll get 1/60th of a second, and so on.


text:
How do I recreate this Annotation effect In After Effects?
I found this annotation effect that I really like. and would like to recreate in After Effects. Does anyone know how to do it?
https://vimeo.com/42220418
Thanks

Welcome to Video Production. In order for this question to be useful if the link you provided goes away, consider describing the effect you are after. It will also help others answer the question.

That's fairly simple. Just create the text, arrows, and other stuff. Animate them to create the effect you want (I can't give you details here, you'll have to ask someone else). Then track the points where you want the annotations to be so they'll follow them.

The easiest way to do that is to use the camera tracker to track the position of the camera in the shot. With the layer selected, go to Animation>Track Camera. That will start the analysis of the layer which you can monitor in the effect controls window. Once it has done the analysis (it can take a very long time) the Create Camera button will be activated.

Hit that button, and a 3D camera will be created. This camera matches the position of the camera that took the shot (in theory). So now if you add your graphic elements as 3D layers, the 3D camera will record them as if they were part of the original scene being recorded by the original camera.
Note that the video layer stays as a 2D layer in the background, because it already has the 3D camera's movement in it.

You shouldn't need to do a full 3d track for so simple a task, a basic 2d point track should work.

The good thing about a 3D camera track is that once you've done it all your 3D layers track properly without any more effort on your behalf. So if you had multiple annotations you'd have to 2D track each one, which would take way more time than one 3D track. 3D tracks also 3D so you get correct perspective, as well as rotation and scale.

I see where you're coming from, but you don't really need to track rotation and scaling for a simple annotation. Several 2d tracks seems easier and more efficient to me.

Well, I guess it depends on the look you're going for. I can't see what's so difficult about doing a 3D track. It's actually easier to use than the 2D tracker - you don't have to anything except run the tracker and create a camera when it's done analysing in the background. With a 2D tracker you have to set up track points, nurse the tracker through the analysis, and then apply the tracker to the target layer, for each target you want to track.


text:
Overlay animated watermark multiple times
So, I have this animated watermark (MOV w/alpha) that I want to overlay on top of a video. I want to do it multiple times, so once in the beginning, once in the middle and finally towards the end. I'd like to use ffmpeg. Issue is, I believe, that in the complex filtergraph I'd have to use, there will be multiple intermediates formed, leading to quality loss. Is there a way to do this in one-pass?
Thanks.

Please show some info about your ffmpeg build and your inputs. There complete console output of: ffmpeg -i video -i overlay

Two movies - base movie and a short overlay movie with alpha. If the base is 45 minutes long, then the overlay happens at 0, 22.5 minutes and 45 minutes. I was hoping for a generic command where I didn't know the exact duration of base, but I don't think ffmpeg can reference input duration.


text:
How can I rotate in steps with After Effects?
I want to animate a representation digital counter. It is a segmented circle, and each time the counter increments it should move one step forward.

My plan is to start with a graphic with all the segments visible, and then use a mask to block out the "selected" segment - it should look like a digital sweep around the circle.
I can do this with rotation quite easily, but it will be "analogue", in that it will reveal parts of the segment rather than make a discrete change. How can I make an object rotate snappily by x degrees every second, rather than smoothly rotating?
Only way I can think is to use expressions, and set a stepped value, but is there a better (simpler) way?

Figured out how to do it with expressions. You need to know the time taken for a full rotation and the number of degrees you want to increment.
degrees = 6; // Number of degrees to rotate by
fullRotationTime = 60000; // Number of milliseconds to complete a full 360 degree rotation

steps = 360/degrees; // Number of steps in one rotation
divisor = fullRotationTime / steps;

ms = 1000*time; // Milliseconds since start
degrees*(Math.floor(((ms)/divisor)%steps))

This example will "tick" once a second for 60 seconds.


text:
AvsP - Frame sizes don't match
This is potentially the wrong exchange for this, but here goes.
Trying to put scenes together in AvsP, and for some reason it isn't allowing me to splice, saying the frame size's don't match, even though I've used LanczosResize to ensure that all the scenes are 320x240.
Fired a bit below to look at.
Title screen clip
Title="C:...\Untitled.jpg"
TitleClip=ImageReader(Title, fps=25, end=74)
CroppedTitle=Crop(TitleClip,664-320,475-240,320,240)
TitleAndText=Subtitle(CroppedTitle,"Computer-supported Cooperative Work",
\160,120,1,size=17,text_color=color_crimson, align=5)
TitleAndText
LanczosResize(320, 240)

First scene of full matrix
Matrix="C:...\scene1.jpg"
MatrixClip=ImageReader(Matrix, end=149, fps=25)
MatrixClip
LanczosResize(320, 240)

And then when I try to put them togehter:
Opening=TitleAndText+MatrixClip

This line is throwing the error. What am I missing?


text:
Convert .WMV using FFmpeg
I'd like to use FFmpeg on the Mac Terminal command line to convert a .WMV file. I'm familiar with the syntax:
ffmpeg -i /path/OriginalMovieFile.wmv /path/NewMovieFile.???

However, my recent attempt to convert a 38 MB .WMV file to .MP4 resulted in an 800 MB file that wouldn't play. Perhaps there is a mistake in my syntax above. Or maybe I need to install a special package for handling .WMV.
How can I convert .WMV files using FFmpeg from the Mac Terminal command line?

Please include the complete console output from your command. You can add the -t option if encoding a short duration will suffice to help explain the issue.

wmv is often detected as 90k FPS by ffmpeg.  (That's a placeholder value since the demuxer doesn't look into the stream right away, to see the intervals between the first few frames).
ffmpeg's default for mp4 output is CFR mode, hard-duplicating frames to bring the framerate up (to 90000FPS in this case).  Even the most efficient codecs take a few bytes to code a frame that's an exact duplicate of the one before.
-vsync vfr (same as -vsync 2) on the command line should fix the problem (by letting ffmpeg not drop or duplicate any frames, but instead just use the input timestamps for the output frames).  It goes after the input file but before the output file, as it's an output option.
Other than that, see https://trac.ffmpeg.org/wiki/Encode/H.264 for example for how to choose settings appropriate for what you're doing.  (e.g. -preset veryslow to spend lots of CPU time for an encode-once task where the quality-per-filesize gain will benefit lots of times.)

This explanation is unlikely as 1) even at level 5.2 H264 supports a max of 530M luma samples per second, so a 90K fps output will be limited to a resolution of under 102x58  and 2) I have encoded many WMVs which report a tbn and tbc of 1K (and even some 90Ks), and I have never gotten a bloated output like the OP - I don't specify a framerate as an output flag or filter.

@Mulvya: I didn't test this for myself with ffmpeg recently, but mplayer did used to show the fps of wmv files as 90k.  Actually, I think I did see something like this with mp4 output and an actual VFR mp4 input.  When you encode from a wmv source, what output format do you use?  ffmpeg's default for most muxers is -vsync vfr, but it was changed to -vsync cfr for  mp4 as a workaround for some bug that can happen in a corner case.  re: 1): This output file is probably nowhere near level 5.2, if my theory is correct.  If ffmpeg / x264 tag it as such, that's a bug.

My output was typically H264 in MP4 or MOV. My point re: level was it was very unlikely that ffmpeg was trying to use a fps of 90K as output if only for the simple reason that even at the highest level of 5.2, that framerate would only allow a very low resolution, and the encode should fail at the outset, rather than dump a bloated file.

@Mulvya: insane-framerate h.264 is still valid h.264, there just isn't a level do describe it.  I think I now remember at least one other questions on here where ffmpeg used a way-too-high frame rate and made a giant file.  That question had full ffmpeg output, so we could see that was actually what happened.  I agree, in an ideal world, ffmpeg would be able to tell when this happened by accident and abort, without failing to do what's asked if you really did ask it to make a 90k fps CFR output file.

Both avconv and ffmpeg suffer from the poorly chosen defaults for each container and codec. Therefore you should not simply give the command in the format as you have presented, but also tell it what to do.
I use avconv, but if you are still using ffmpeg then the format is rather similar, so you should be able to follow.
You will need to specify the audio settings. In many cases you will want to copy your audio without actually reencoding. This is done via -c:a copy. For example:
avconv -i video.wmv -c:a copy (...) video.mkv

This wasn't a complete line, so don't yet try it.
You can also chose to reencode your audio, in that case rather than copy you should use the name of the codec (or for some reason often the library that does the encoding). For example, you can write:
avconv -i video.wmv -c:a libvorbis (...) video.mkv

But this will not produce good results, because we didn't give any parameters for the audio conversion. Let's just give it a quality setting, and then we will be all set with audio:
avconv -i video.wmv -c:a libvorbis -q:a 3 (...) video.mkv

Now the video. We can often just copy that one as well, but this is rarely what we want. If you want to just remux the file (meaning you want to change the format, but not codecs), then you can do:
avconv -i video.wmv -c:a copy -c:v copy video.mkv

As you see we have copied both video and audio, and we put them in the new file that is of Matroska format. This command line already will work, and you can give it a try.
You should keep in mind that not each format can take every possible codec, some of them are more picky than others.
Let's say you now want to reencode the video into something. Personally i prefer libtheora, due to the fact that it is a free codec, but you can have different preferences. I will let you decide for yourself which one you use.
So we can have something like this:
avconv -i video.wmv -c:a copy -c:v libtheora -q:v 8 video.mkv

In there i have asked avconv to copy the audio, but to reencode the video with the library libtheora and video quality of 8. The entire thing will be saved inside video.mkv, which means it's a Matroska file.
You can play around with settings, but you should very rarely use default presets. And keep in mind, that even if the file format is the same for output as for the input, avconv will reencode it by default. If you want to copy streams, you should specify it manually.


text:
Moving Crop in Video
I have an HD video of a speaker giving a lecture.  I would like to resize the video by cropping each frame, but the cropping rectangle needs to be centered on the speaker's head as he moves around the stage.
I can generate a file that contains the cropping rectangle's X, Y, Width, & Height for each frame in the video.
What's the best way to apply this moving crop to the video?
It should work if I..

Use ffmpeg to extract each frame to a folder
Use another program to crop each image file
Use ffmpeg to rebuild the video using the cropped image files

Is there a better way to do this?

ImageMagick could do the cropping if you have numerical description of the crop frame. I'd suggest: export as image sequence using ffmpeg, batch process using ImageMagick and remux as a movie in ffmpeg. You'll need some sort of shell scripting to glue it all together probably. If you post an example of the file with the crop info I can work out the details for you.

May I ask how you generate that file? I'm working on exactly the same issue. I have a proof of concept using the ffmpeg tblend subtract filter and then the cropdetect filter. Wondering if you have a better way.

Similar to Gyan's overlay answer, a slightly simpler version can use a basic -filter_script with the "swaprect" and "crop" filters.  Move the crop target to 0,0 and then crop the target area at 0,0.  The target has to be swapped to 0,0 as otherwise the other swapped rect can overlap.  This worked with ffmpeg version 3.4.6-0ubuntu0.18.04.1
Make sure the frame numbers are relative to the offset passed with "-ss".
An example targeting 1280x720 crops from a 4096x2160 source.  The source is 24fps and the tracking info is 8fps.
crop-filter-script:
swaprect=1280:720:0:0:1568:594:enable='between(n,0,26)',
swaprect=1280:720:0:0:1552:598:enable='between(n,27,29)',
swaprect=1280:720:0:0:1565:583:enable='between(n,30,32)',
swaprect=1280:720:0:0:1603:576:enable='between(n,33,35)',
crop=1280:720:0:0

ffmpeg -ss [start offset] -t [duration] -i input.mov -filter_script:v:0 crop-filter-script -acodec copy out.mov

As I'm working on the exact same challenge, I'm currently thinking of abusing the ffmpeg vidstabtransform filter with a generated trf file. But I have not worked out the details yet.
Info on the trf file format.

Given that you have "a file that contains the cropping rectangle's X, Y, Width, & Height for each frame", you can use the filter_script option to do this in FFmpeg. The crop filter does not support timeline editing but the overlay filter does. So, if you create a blank canvas of the same resolution as your video and then overlay the video on top with co-ordinates such that your intended region is superimposed in the visible area, the goal is achieved.
Basic syntax is
ffmpeg -i in.mp4 -filter_complex_script file.txt -map "[out]" output.mp4

where file.txt looks like this:
nullsrc=WxH:r=FPS[cv];
[cv][0]overlay=-X0:-Y0:shortest=1:enable='eq(n\,0)'[b0];
[b0][0]overlay=-X1:-Y1:shortest=1:enable='eq(n\,1)'[b1];
[b1][0]overlay=-X2:-Y2:shortest=1:enable='eq(n\,2)'[b2];
...
[bm-1][0]overlay=-Xm:-Ym:shortest=1:enable='eq(n\,m)'[out]

The canvas W and H should be equal to the (fixed/static) crop dimensions and of the same FPS. Then each frame of the video is overlaid at (- X, - Y) so that the top-left corner of the desired region is at (0,0) of the canvas. Each overlay occurs for one frame. For efficiency's sake, if you have intervals where the crop region is static, you should use the between evaluator e.g.
[bi][0]overlay=-Xi:-Yi:shortest=1:enable='between(n\,1200\,1445)'[bj];

You can also evaluate using timestamp t instead of frame index.

I tried implementing this solution to see how it goes, just wanted a brute version at the beginning for testing so I haven't implemented between, I just added the position for each frame, for the first 3000 frames. My ffmpeg memory is now at 36GB and going with 1 frame per minute :( I guess this isn't the best solution for per frame haha

I'm currently out of town,  but look into using trim filter to isolate one frame and output to Png. So n commands for n frames. Then concat the images to a video

I have already changed to avconv, so i apologise if the answer may be a little different in the classic ffmpeg, but i believe that not much difference should be there.
You can have a moving crop if you can create some sort of formula between the frame number and the position of the crop; but there are no analytic tools available to do that. This means that if the the speaker moves in a predictable way you could theoretically do that without an external application.
Let's assume, for example, that the speaker is moving from top-left to bottom-right in the picture. You could do something along the lines of:
avconv -i input.ogv -vf 'crop=200:100:n:n' -c:v libtheora output.ogv

In here i'm moving 1 pixel per frame, which is very unlikely how somebody would move.
Keep in mind that there are quite a lot of math functions that are provided by the filter interface of avconv (and i'm sure ffmpeg is similar).
So let's imagine that you want to move 1 pixel per frame, but only from 200 to 350 frame. You can then do
min(max(n,200)-200, 150)

For the frames <200, max(n,200) would generate 200, then we take away 200 to make it 0, and then min will return the first part up until 350 frame, where that result would become more than 150 and the constant will begin to be returned.
Although writing such formula by hand would be quite tedious, maybe it will be helpful in some cases as well.
Having said all that, if i were to have an option of having access to the software that is able to work on images frame by frame, i would go that route.


text:
VirtualDub Deshaker Error
So I'm trying to run Deshaker on some video straight from a Canon 60D in MOV format. I followed the steps in this video to enable MOV support in VirtualDub. Sems to work well, but I keep getting this error about two-thirds of the way through Deshaker's first pass:

I really have no clue what to do. I did some research, but can't find anything useful. Any help would be greatly appreciated.

That looks like a software error. Your best bet would probably be to get a clean version of VirtualDub and retry the steps to enable .MOV support. Alternatively, you could also convert the .MOV to another format such as jpg sequence.

Thank you, but I tried starting fresh and I got the same error. Also, the conversion tool I use is Handbrake, and I can't find a way to convert video to AVI, which is what I'd prefer.

To achieve the same thing I'm using Avisynth instead as an input:

Download and install Avisynth.
Install latest Quicktime 7.
Download Quicktime Import plugin for Avisynth and copy dll file in the Avisynth plugin folder.
Create Avisynth script file that describes you video as detailed in the Avisynth Getting Started, for example:

QTInput("D:\Folder\File_path.MOV", audio=true)

Open this Avisynth script file with "File" -> "Open Video File..." from VirtualDub.
Use VirtualDub with the Deshaker plugin as usual.

With this input plugin reading my .MOV files I can stabilize any video through VirtualDub and Deshaker. I hope this will work for you as well.


text:
How to assemble timelapse
In 2002-2005 I collected approx 280000 jpegs from a webcam that updated every 5 minutes, with pictures of a construction job in my local town.
My goal is to make a youtube-video with optimal quality.
Can I do this with free software? How many fps should I have? What codec?
Here are two consecutive original images.
trondal.com/a.jpg
trondal.com/b.jpg

Can you give us a bit more detail on any kit you may have access to (Windows, Mac, etc)

I use Windows. It is possible for me to run linux-tools in a virtual PC. I don't have any fancy software.

I've done this using VirtualDub as described in the answers below but there are limitless options. I would recommend this place if you are interested in time lapses: http://forum.timescapes.org/phpBB3/index.php very friendly community and a lot of information on what to do and what not to do when creating time lapses from the process of shooting to the final video assembly steps!

Assuming these have, or can be given, consecutively numbered file names you can do this easily using ffmpeg, avconv and similar utilities. Most have builds for Mac, Windows and Linux.
The choice of frame rate is up to you, and really affects only the total length of the output file (at 30fps, 280000 frames is 2.6 hours; at 24 fps it's 3.24 hours). If you have a target device or platform that needs a specific rate, use that.
You may want to decimate the source stack -- that's a lot of pictures and it's unlikely to be interesting for the entire length. I would convert to 30 fps, then edit the result to eliminate long unchanging sections (nights, etc).
Good luck.

I've done this a couple times. My software choice is VirtualDub (free), and then After Effects for some cleanup (stabilization). The stabilization can be done by YouTube if you don't own After Effects.
Basically just download VirtualDub, then import the image sequence into it. It'll automatically import all the photos after you select the first one. Make sure to change the frame rate to something higher, VirtualDub defaults to 10. I'd pick either 24 or 30. Once you've done that, just save as an AVI from the file menu.
Then you can upload straight to YouTube, or take it into After Effects and use warp stabilizer to stabilize.


text:
AVCONV to transcode MJPEG to RTSP
I have an MJPEG test source (local business has publicly available source) that I’m trying to transcode to an RTSP stream for consumption by Evostream.
I have tried with and without the -vcodec copy parameter, but I cannot seem to get it to stream properly.
Here is my streaming command:
#avconv -f mjpeg -i http://sics.com:9001/mjpeg.cgi -vcodec copy -f rtsp -muxdelay 0.1 -metadata streamName=mjpStream rtsp://127.0.0.1:5544/

And the resulting output:
avconv version 0.8.17-4:0.8.17-0ubuntu0.12.04.1, Copyright (c) 2000-2014 the Libav developers
  built on Mar 16 2015 13:26:50 with gcc 4.6.3
[mjpeg @ 0x20ae9e0] max_analyze_duration reached
[mjpeg @ 0x20ae9e0] Estimating duration from bitrate, this may be inaccurate
Input #0, mjpeg, from 'http://sics.com:9001/mjpeg.cgi':
  Duration: N/A, bitrate: N/A
    Stream #0.0: Video: mjpeg, yuvj422p, 320x240, 25 fps, 25 tbr, 1200k tbn, 1200k tbc
Output #0, rtsp, to 'rtsp://127.0.0.1:5544/':
  Metadata:
    streamName      : mjpStream
    encoder         : Lavf53.21.1
    Stream #0.0: Video: mjpeg, yuvj422p, 320x240, q=2-31, 90k tbn, 1200k tbc
Stream mapping:
  Stream #0:0 -> #0:0 (copy)
Could not write header for output file #0 (incorrect codec parameters ?)

The 'copy' codec tells avconv to skip decoding and encoding. It is useful if you are trying to change the container format but in your case, you are changing the format of the stream from MJPEG to H264.
Just leave '-vcodec copy' out and let avconv figure out that it must transcode from mjpeg to H264:
avconv -i rtsp://admin:admin@192.168.11.11/streaming/Channels/2 -map 0  -f H264 udp://192.168.10.11:5014

[mjpeg @ 0x113f1d0] Changeing bps to 8
Input #0, rtsp, from 'rtsp://admin:admin@192.168.11.11/streaming/Channels/2':
  Metadata:
    title           : Media Presentation
  Duration: N/A, start: 0.000000, bitrate: N/A
    Stream #0:0: Video: mjpeg, yuvj420p(pc, bt470bg/unknown/unknown), 320x240 [SAR 1:1 DAR 4:3], 50 tbr, 90k tbn, 90k tb
No pixel format specified, yuvj420p for H.264 encoding chosen.
Use -pix_fmt yuv420p for compatibility with outdated media players.
[libx264 @ 0x116a980] using SAR=1/1
[libx264 @ 0x116a980] using cpu capabilities: ARMv6 NEON
[libx264 @ 0x116a980] profile High, level 2.1
Output #0, h264, to 'udp://192.168.10.11:5014':
  Metadata:
    title           : Media Presentation
    encoder         : Lavf56.40.101
    Stream #0:0: Video: h264 (libx264), yuvj420p(pc), 320x240 [SAR 1:1 DAR 4:3], q=-1--1, 50 fps, 50 tbn, 50 tbc
    Metadata:
      encoder         : Lavc56.60.100 libx264
Stream mapping:
  Stream #0:0 -> #0:0 (mjpeg (native) -> h264 (libx264))

Press [q] to stop, [?] for help
frame=   51 fps= 34 q=31.0 Lsize=       9kB time=00:00:00.98 bitrate=  71.7kbits/s dup=40 drop=0
video:9kB audio:0kB subtitle:0kB other streams:0kB global headers:0kB  muxing overhead: 0.000000%


text:
Motion trail for a layer as it moves
I'm trying to recreate the effect of an error window that duplicates itself as it's dragged along, similar to this:

I would like the layer to leave a trace/a copy of itself as I move it around (via Position). I've tried using the Echo Effect, in addition to a few expressions with no luck. Could anyone recommend a method of accomplishing this?

Using expressions to create the trail will work, but it will have the disadvantage that you will need as many layers are there are frames of the trail, and since each one will be driven by expressions it's going to get really slow.
An alternative is to make a comp with just your moving layer in it. now make a new comp with say ten of your original comps in it, and use the Animation Assistant to stagger them by one frame. Now make a new comp with this comp repeated ten or so times, and stagger then by ten frames. This will have 100 copies of your original video. If you then nested that video ten times you'll have 1000 copies, then 10,000, 100,000 etc. This should render faster because it's all based on precomps, which get cached by AE and tend to work better than separate layers.


text:
How to sync the dubbed audio to make a dual audio .avi
I have a show with the original audio, XviD encoded with mp3 in a .avi. The local TV has started broadcasting the show with the dubbed audio. I captured some of the shows off of the TV broadcast, demuxed them and got .mp2 of the dubbed audio. Now I want to include this dubbed audio within the original files I previously had. I know how to include it as the second audio stream within the .avi, But first I need to sync the dubbed audio with the original video as it was a bit different when broadcast by TV, i.e. there were some censored, cut parts in it so the dubbed audio needs to have some editing (the ads were also recorded) etc. and not just some delay to get in sync with the video. On the other hand, the original video comes in 23.976 fps whereas the dubbed audio was extracted from the TV broadcast which is 25.000 fps.
So is there any application to see the video with while editing the dubbed audio at the same time so that I can get it in sync, delete some parts, etc. And how can I change the fps of the dubbed audio or the original file (whichever would be more reasonable to do) to have them both in the same fps.
Would be great if I could do all these without any quality loss as the audio is of bad quality as it is.
I'd be very grateful if you could help me with this.

Audio isn't rated by "fps". What matters is the total length, measured in hours, minutes, seconds and samples or mSec. So the fact that the off-air video is at 25 fps makes no difference.

My main issue is cut parts of the dubbed video. I can handle different "fps"

Perhaps I am missing something but you can do what you want with any decent video editing application. Have you tried it and it didn't work?


text:
Does filming in 30p as opposed to 60p provide a brighter video?
Does filming in 30p as opposed to 60p provide a brighter video? Would it be better to film at perhaps 24p in darker circumstances?

Yes and no.  Shutter speed is what determines how long light is gathered for and is not the same as frame rate.  Frame rate does place a logical limit on your shutter speed as you need at least one exposure per frame in most cases, but there is nothing preventing you from using much faster shutter speeds than your frame rate.
Some video cameras will even allow for shutter speeds slower than the frame rate and will simply record the same image on more than one frame, though this arguably lowers the meaningful framerate (though faster frame rates will result in a closer match up to the exposure time).
As a general rule of thumb, it's best to use a shutter speed at least twice that of your frame rate, so you would use 1/60 exposure or faster for 30fps and 1/120 exposures for 60fps.
This is partially a throw back to old mechanical film cameras where the film advanced during the time that the shutter was not open.  They used a rotating plate and when the plate was over the lens, the film moved forward.  This is why you will see shutter speeds on some professional cameras measured in degrees.  This corresponds to the number of degrees of the circle that were open.  ie, a 180 degree shutter speed means that the shutter speed is twice that of the frame rate.  90 degree shutter speed would be 4 times the frame rate.
As long as the shutter is timed properly to the frame capture, there is no reason you can't use longer shutter speeds, but it may increase the appearance of motion blur and give an odd feeling to the footage unless that is what you are going for.
Reasons to use slower shutter speeds are to let in more light or to increase motion blur, reasons to use faster shutter speeds are to let in less light or decrease motion blur.
Reasons to use lower frame rates are to save space and to give a more film like quality.  Reasons for higher frame rates are for smoother motion and more video data to work with (better slow motion, stabilization, etc).


text:
Is Nikon D750 a good choice vs. Canon 5D Mark III for avid Videographer?Edit
My main uses for getting a DSLR for Video would be the following:

HDR (Video/Audio)
Panoramas
Slow Motion
Excellent Live View
Good RAW Support

Any other pro-features for videography.

How do you see HDR (especially audio), RAW support in sense of video? Yes, there are cameras which can shoot video in raw, but this is common for still. And panorama is related for still, for video is just frame ratio

You should consider other options than Nikon/Canon. Even if they have proven DSLR can do really good video, thanks to 5D Mark II/III and Magic Lantern, they do not compete well against Panasonic and Sony.
If you compare 5D Mark III against a Sony A7S, you're going to have a much better video quality on A7S, thanks to its far superior sensor. Much higher dynamic range, better low noise performance, 4K, and so on. Watch the 5DIII vs A7S:

The mind-blowing low noise performance on A7S:
https://vimeo.com/99893160
Again, 5D III is left behind Panasonic GH4. The last one is far less expensive, and offer 4K resolution. Even if low noise is not really well performed on it, because of its 4/3 sensor, it's still a good competitor regarding of its price.
Nikon and Canon seem to be left behind nowadays. They provide the best DSLR for stills, but for video, you can find better, and often with less money.
Wake up Canon!

So true, Sony low light video cameras are so good, I would even suggest the a6000 as a viable low budget choice, certainly as good or better than the canon and nikon at a fraction of the price

No, the D750 is not a good alternative for an avid videographer, at least not if you want the advantages Magic Lantern offers.  ML isn't available for Nikon.  The reason has nothing to do with the technical advantages of either platform, you can get models of camera that are fairly close in that regard.
The problem is that Nikon does not have anything like Magic Lantern.  The majority of your high end professional video features, such as RAW video and HDR video, are not actually supported by either make on it's own.  They are added by a third party firmware hack called Magic Lantern and it is only available on select models of Canon camera.
If you aren't looking to use a hack, the D750 may make a decent enough option (I haven't looked at it that closely since I already have a 5D Mark iii), however it won't have many of the features you are looking for, just like a stock 5D Mark iii wouldn't.
Other key features you would be missing are things like focus peaking and adjustable zebras.  The scope support is also much less advanced, though either camera can support uncompressed HDMI output which means you could use an external scope and even external focus peaking if you had the right hardware, but that's more to buy and offsets a lot of your cost savings.
Update:
I did some more reading on the D750 due to some of the comments and I still stand by the majority of my comparison.  This is a low light comparison of the two cameras.

Note in the high ISO video that the 5D Mark iii absolutely destroys the low light performance of the D750 on video.  The one thing that is noteworthy about the video is that one native feature the D750 offers is flat color profile.  On the clip where it shows a flat profile, the Nikon will appear better because it isn't using any shadow detail, however the color depth will suffer in that mode.
You can do flat color with 5D Mark iii as well, but it requires either some careful custom adjustment or use of ML to do so.  Additionally, the 5D Mark iii with ML offers true raw shooting which blows flat profile shooting out of the water since you maintain color depth while still having the ability to adjust color and luminance response.
The dynamic range available in video shot with ML is much higher as it can be set to change ISO every other frame and then, with some post processing, do an HDR blend for each frame.
The timelapse feature on the D750 may be nice to have, but it saves relatively low quality and ML provides this feature on the 5D Mark iii with full raw support and extensive options.
Note however, none of that is to say that the D750 isn't an excellent camera.  It's easily one of the best, if not the best video feature set that Nikon has made yet.  It's a solid camera, but it can't hold a candle to the capabilities of the 5D Mark iii in the video space when running ML and still has some significant short comings even if you don't run a 5D Mark iii on ML.

Does 5D3 not provides native RAW video? By the way as far as the comparison goes, D750 has much powerful low-light performance, dynamic range and it provides built-in HDR and time-lapse features. It also has zebra patterns but not focus-peaking. Is it really that important? If it was you? And how do you rate raw video's importance for pro work?

I'll have to do a bit more looking at the 750 then but raw video is huge for color correction. I'd need to check more about how Nikon is doing stuff, but ml is probably far more customizable unless built in settings have come a long long way in the last year. I didn't see any notes to such when scanning improvements made on the d750.  If you are looking for a cheaper option, Lumix is probably your best bet because they have a similar set of video hacks.

I use Nikon SLRs among a suite of other video cameras for professional corporate videography. The latest full-frame Nikons have proven to be good solutions for a higher-end look. As with all SLRs, they are far from the convenience of a typical, all-in-one ENG type camera and as with all SLRs their video capture quality is lacking. My solution if the Nikon is my A camera is to use a separate pre-amplifier for audio. The other technique is to use an off-camera video recorder to capture off the clean HDMI port. Other, in-camera, methods such as Black Magic's firmware might work for some producers but I prefer a high bit-rate file such as a real ProRes 422 or HQ file which produces cleaner and easier to work with images in post. Nikon's latest flat picture profile, while not S-log, has been a joy to use as it stands up to color correction. In shoots where I have to deliver almost immediately, other profiles work nicely as well. In the end, I've been happier with the results from the latest Nikon SLRs over the files out of Canon's MkIII. Nikon's files rival Sony's.

The camera is not the only issue here. If you have Nikon lenses you can get great footage with a D750. I am sending my Sony A7S back to BH because of horrible focus issues in low light. If a scene is not well lit there are issues no matter what camera is used. You need a good prime lens to shoot in low light, not high ISO.