text:
How could I create a time lapsed image
How can I create a time lapsed image like this? (they are the same drone at 6 different time instances)

I am not a professional video editor, but rather just an end user.
So is there any online service or free software that allows me to achieve this effect? My video is shot from a tripod and the camera is not moved/zoomed during the whole process.

Just to get some clarification: The drone flew 6 times through the same area, and then you want to overlap those 6 flights, as if they flew togehter?

No, actually, the drone only flies once, and I record a video of its flying. I just would like to plot an image that shows the drone at different time instances so that the viewer could see the shape of its flying trajectory.

Ouh, I think I get it now. You mean, like you've would have done a long exposure image. You can check out this tutorial: https://www.youtube.com/watch?v=S8L9eGQZNKs This tutorial uses PS. A free alternative would be GIMP with this tutorial: https://www.youtube.com/watch?v=JzEPpH7CT7w

I don't have an answer, but the above notions are good; (whether its hidden or expicit) any plugin/workflow will first need an empty backdrop rendered. You can grab some varied still frames and combine them in tools like the open-source software Hugin (example). The empty image will then be used as the baseline for a video-effect processor called an image keyer. I don't know of a free keyer or free nle with keying features/plugins. Good luck.


text:
BLACK SCREEN IN CINEMA 4D
I am having this ridiculous problem in Cinema 4D. Trying to render it gives me a black screen. I tried adding lights, infinite lights sky, turning off OpenGL rendering... but nothing happens!! I have searched everywhere for a solution but nobody seems to have a problem like this. It worked about a day ago. I updated my graphics driver too.. still nothing happens. Also, EVERYTHING is black, not just one object.

It's possible that this could be a duplicate of this question: https://video.stackexchange.com/questions/17235/c4d-nothing-seems-to-fix-this-stupid-black-screen

Looks like a copy and paste. Unsure why. Closed as dupe.

source: Stack Exchange

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

sort: votes


text:
How can i open circumference of circle as straight line in After Effects?
I would like to create an animation to open circumference of a circle as a straight line exactly. I am currently learning After Effects and i have some idea about it but i could not do it.
It is very important to me. Can anyone help me to do it?

I'd be interested in knowing this too.. Initially I thought you could turn a circle path into a bezier, but this doesn't work as the bezier is joined up, and also the paths are "stretchy".  I'm guessing you need to do it as an expression somehow, maybe with beams?

Use masks. Make a mask with 5 points, one in the centre of the circle two on either side in line with the first and two far enough away so that the mask covers half the circle. Then animate the second two points to travel together and meet in the centre.
Actually do the above, but reverse the order.
Here it is with a matte layer to show you the shape of the mask I'm talking about.

and the end result

Remember that the points on animated masks travel in straight lines between keyframes. So the beginning and end positions of the moving points have to be far enough out that they don't go inside the circle.
Edit
Here's an expression to create a circle, and a line and interpolate between the two. The intermediate frames are kinda ugly, I'd probably convert the expression to keyframes and delete all but the first and last frames, then manually animate the in-between.

var radius = 100;
var animationDuration = 2;
//You can't draw a perfect circle with Beziers, but this is a good approximation
var handleLength = radius * 4 * (Math.sqrt(2)-1)/3; //Because maths.
var circlePoints = [];
var outHandles = [];
var inHandles =[];
var Tau = 2* Math.PI;
for (i = 0; i < 5; i++){
    circlePoints[i] = [Math.sin(Tau * i/4) * radius, Math.cos(Tau * i/4) * radius];
    outHandles[i] = [Math.sin(Tau * (i+1)/4) * handleLength, Math.cos(Tau * (i+1)/4) * handleLength];
    inHandles[i] = [0,0] - outHandles[i];
}

var linePoints = [];
var lineInHandles = [];
var lineOutHandles = [];

for (i = 0; i < 5; i++){
    linePoints[i] = [radius * (1 - i / 2), 0];
}
var thePoints = [];
var theinTangents = [];
var theOutTangents =  [];

var t = Math.min(time / animationDuration, 1);
for (i = 0; i < 5; i++){
    thePoints[i] = circlePoints[i] * (1-t) + linePoints[i] * t;
    theinTangents[i] = inHandles[i] * (1-t);
    theOutTangents[i] =  outHandles[i] * (1-t);
}

createPath(points = thePoints, inTangents = theinTangents, outTangents = theOutTangents, isClosed = false);

I think he's asking how to change the circumference of the circle into a straight line - ie unbend the shape of a circle into a line

You can freehand draw a circle using the pen tool, then freehand draw a line with four points, set a keyframe for the path of the circle, copy the path attribute from the line and paste it onto the circle path further down the timeline. But the intermediate shape will be messy. Otherwise you can just scale a circle down on the y axis until it's completely flat. Depends what you want the intermeiate shapes to look like.

Is there a sensible way to do it programmatically?

See my edit above

UV'd (drive-by), great answer. Still don't get the general voting mentality here...

It's a fairly low volume site, things don't get the kind of upvotes they do on SO or Superuser, even if they're as brilliant as my answers always are.

See How to transform a Circle into a Straight line?
Here, Rick Gerard gives a few suggestions how you could do it.
I guess the best way would be to make a line and bend it like a circle, zoom really far in and put the end points near each other, but don't connect them.

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


text:
How to manage subtitles for dialects
I'm italian, and I was commissioned a video composed by several interviews to old people living among some hills. The final product now is a 70 minutes long video composed by interviews that are mostly spoken in italian language.
Seldom, though, these elders switch language, and start speaking in the local dialect. That happens quite often for a few words; sometimes, albeit rarely, they speak entire phrases in their dialect.
At the beginning this didn't seem like an issue because that's a pretty common thing here, and more or less everybody in this region would understand those words, so we didn't ask the elders to just repeat the phrase in italian during the interview. Now, though, those who commissioned the work started to worry about people not getting those words, in case the video gets some distribution outside of this region.
Consequently, I find myself in the necessity to create some proper subtitles (dialect to italian). The issue is that I'm not sure about how to format them in those situations where the dialect appears only for a few words in the middle of a phrase.
Of course when the phrase is entirely in dialect it would get entirely subtitled. But what when it's just a word or two? Is there some international standard? Did you ever happen to find a precedent to this situation?
The options I'm currently thinking of are these:

subtitling the entire phrase like it was entirely spoken in dialect;
making a subtitle which includes only the dialect word and its translation.

Example:

Per fare il savorèt prendi delle mele, e le grattugi.

meaning:

To make jam you take apples, and you shred them.

The bold word is spoken in dialect, not in italian.
Subtitles' option 1:

Per fare la marmellata prendi le mele, e le grattugi.

Subtitles' option 2:

Savorèt = marmellata.

While the first option is certainly clearer, it also sounds excessive and I fear it wouldn't fit well in the overall aesthetic of the video. Putting an entire phrase, written in the exactly same way it is spoken except for one word, in front of the spectator, thus implying it has to read it, seems almost offensive.
The second option sounds more interesting. The subtitle might appear by fading, so that it doesn't come in too abruptly. At the same time I fear that they'd require the viewer to give even more attention to the phrase being spoken, to recognize the weird words and fitting the translated word in their place. That might be confusing to some.

There is no right answer to this. You can do either of those things. I'm sure others might have other suggestions. It really is a matter of what works stylistically for your finished product.

I wouldn't do the second option at all. Subtitles should flow with the text, an comparision sign disturbs the flow.
I personally would prefere to simply rewrite the entire sentence.
Depending on your distribution media, I would make it closed captions, so people can turn off or on the translation.
Maybe, you could consider to translate the entire project, as this could be a less intrusive than switching subtitles on and off.
But I would handle it like most documentarys, when there are other languages involved. Simply translate the sentence.

I disagree with a lot of this. The OP was talking about words or phrases that are in a dialect. It does not need subtitles that flow. There is a lot of flexibility in how the translation can be done. That said, closed captions are in appropriate for translations, especially if they are fleeting. Very few people, other than media professionals and those with hearing impairments know how to turn captions on and off. Translating and subtitling the entire project also doesn't make sense as most of the video is in the target language.

said among us, in this particular case I'm not even paid enough for an entire translation of that kind

said among us, in this particular case I'm not even paid enough for an entire translation of that kind

Definitely not option 2.
I remember watching an Indian film with English subtitles that didn't supply subtitles when English words were spoken.
Normally that's not a problem when entire conversations, or at least full sentences, are in one of the languages.
The problem was that many of the characters continually used English phrases or words mixed into their Indian sentences, and the English words were omitted from the subtitles.
This meant that one had to read the subtitles completely in sync with the spoken dialog so that the spoken English was heard at exactly the time when one would have read the next word.
That was effectively impossible, and after far too many rewinds I finally gave up on it.
Even when one can synchronize the two, continually switching back and forth between eyes and ears within the same sentence can be very tiring.
This is the opposite situation of what you are trying to do, but I think it has the same annoyance factor.

The suggestion to subtitle everything is a good one.
That not only allows people to decide for themselves whether they need to use it, it also means that people that have trouble hearing can understand it too.
(I frequently have subtitles turned on, even when watching in English, because so many modern actors love to mumble and slur their words.)


text:
Extract timecode per frame
I have 2 video clips and their start time differs in a few seconds, as in the first camera started recording at 13:20:35, and the second camera started the recording at 13:21:00.
These cameras have a syncbac attached to it which inserts timecode into the mp4 stream. I want to extract the timecode from the mp4 and then trim the 25 seconds from the first video so that the timecode on the starting frame of each video is EXACTLY the same.
So basically - I want the first frame of both the videos to have the EXACT timecode.
Any suggestions how to get this? I am guessing ffprobe or ffmpeg is the solution, but any exact command?

Timecode is stored for the first frame along with the frame rate. It's not stored per-frame.

Oh is it? What command is used to extract that? Please advice. Thanks :)


text:
Premiere Pro: Multiple bit depths in same timeline?
all...
I want to do a two camera shoot but one camera records 10-bit 4:2:2 and the other 8-bit 4:2:2. Can I put clips from both cameras on the same timeline in Premiere Pro?
Thanks
Steve

You can. Premiere Pro handles diffrent files, codecs and settings quite good. The question is more about quality. Do you want to export 4:2:2? Also, all... and Steve isn't necessary. You should only write the question

+1 "yes you can," as others have said.  Only other advice is try to get the look of both cameras as close to "correct" as possible on set (remember to set WB, don't let any color channel get to 100% brightness, add light to dark areas if you need to).  Then, if you need to perform any adjustments in post to get the cameras to match, you'll see that it's easier to make the 10bit one match the 8bit one than the other way around.

Yes, you can mix almost anything within one timeline in PP. The only difference would be the 8-bit won't hold as much data so you have to be mindful in how much colour adjustment you throw at it. It's best to edit the 8bit clip and match the 10bit to it (as it can take more) than the other way round.

Yes. Premiere can handle different codecs, dimensions, frame rates, and bit depths etc. just fine.


text:
Ronin M, S or Zhiyun Crane 2 for BMPCC4k
I am currently figguring out which gimbal I should use for my BMPCC4k with SIGMA 18-35 in a TILTA cage and SSD recording.
I sorted it down to Ronin M, S or Zhiyun Crane 2 but am stuck here.
The things I figured out/think about them:

Ronin M:
  +Most ways to hold it, most max weight.
  -Not so much space to balance and handle cables
Ronin S:
  +Reputable brand
  +Better interface
  +Barrel roll
  +Slightly more payload
Zhiyun Crane 2:
  +Cheaper
  +Follow Focus (Which I don't need)
  +Slightly more pitch (I don't think thats needed)
  - Slower turning
  +Longer battery
  -Seen some jittering in Potato Jets Videos

It looks like the Ronin S is the best match for BMPCC4k, but is it worth the 120$ more? (For me it is 699$ vs 579$)
Thanks.


text:
Add an image as frame of video using ffmpeg
all day I'm trying through ffmpeg to add this frame to this video ..
    mpca86@mpca86-HPPro6300SFF:~/sklad/Stiahnuté$ ffmpeg -i 20190224_081118.mp4 -hide_banner
Input #0, mov,mp4,m4a,3gp,3g2,mj2, from '20190224_081118.mp4':
  Metadata:
    major_brand     : mp42
    minor_version   : 0
    compatible_brands: isommp42
    ro.build.version.sdk: 28
    ro.build.version.release: 9
    creation_time   : 2019-02-24T07:11:42.000000Z
  Duration: 00:00:17.81, start: 0.000000, bitrate: 4564 kb/s
    Stream #0:0(eng): Video: h264 (Constrained Baseline) (avc1 / 0x31637661), yuv420p, 896x1920, 4553 kb/s, SAR 1:1 DAR 7:15, 27.29 fps, 90k tbr, 90k tbn, 180k tbc (default)
    Metadata:
      creation_time   : 2019-02-24T07:11:42.000000Z
      handler_name    : VideoHandle

Is anyone willing to help me?

Another one similar case (but +video scaling) you can find here : https://video.stackexchange.com/questions/35541/add-video-in-front-of-image-background-using-ffmpeg

Basic syntax is
ffmpeg -i 20190224_081118.mp4 -framerate 30 -i frame.png -filter_complex "[0]pad=1920:1080:576:0[vid];[vid][1]overlay" -c:a copy -movflags +faststart out.mp4
This pads the video to the size of the frame image, and then overlays the frame on top. You may need to adjust the horizontal placement of the video by adjusting the x value ib the pad filter, currently 576.

Big THANKS!!! Finaly: https://youtu.be/xA797sSFcV0

Maybe you can say how to move video to front here? In case png has no transparent "center" region?


text:
Corrupt frames: what to do
I’ve discovered some corrupt frames in the footage I am working on (.mxf format, shot on Sony PXW 70, I only have access to the files copied to the hard drive, and the broken frames are in the unedited files).
I’ve checked the file with ffmpeg -v error -i (“[h264 @ 0x7fedd70abe00] error while decoding MB 15 37, bytestream -5”) and tried to repair it with ffmpeg -y -i. Not an experienced user though, so unsurprisingly that didn’t work, same broken frame in the same place in the output file.
Here’s the frame itself: https://i.sstatic.net/pwVkj.jpg
So, I guess my questions are: What might be the cause of that? Is there a way to fix it/avoid it in the future?
Would be super thankful for any advice (googling hints included).

Compression error, possibly due to camera overheating or some defect/bug in the camera. Transcode it once with ffmpeg -threads:v 1 -enable_er true -i ... and check.

@Gyan, thanks a lot.
Tried it,
toharsky$ /Volumes/FFmpeg\ 4.1.1/ffmpeg -threads:v 1 -enable_er true -i /Volumes/Macintosh\ HD/Users/toharsky/Downloads/Clip0048.MXF output.MXF
but seem to be getting another mistake now:
Unrecognized option 'i /Volumes/Macintosh HD/Users/toharsky/Downloads/Clip0048.MXF'. Error splitting the argument list: Option not found
What am I doing wrong? the problem is not the path, it's recognised when I do /Volumes/FFmpeg\ 4.1.1/ffmpeg -v error -i /Volumes/Macintosh\ HD/Users/toharsky/Downloads/Clip0048.MXF -f null - &> corruptions.log

Add -report and run. Share report.

@Gyan, thanks again. I was able to run it now, no clue what was the problem.
Here's the log. The corrupt frame is still there after transcoding.


text:
Raspivid piped into ffmpeg results in jumps and frozen screens in the recording
I am using a Rapsberry pi zero with a camera. For my use-case i need to pack the output of the camera directly into a mp4 container. Encoding it afterwards is for now not an option.
I tried to start a recording with the following code but this results in a recording that has frozen frames for a few secs followed by either a cut or a speed up untill it catches up to realtime again.
/usr/bin/raspivid -o - --framerate 30 -b 3000000 --width 1920 --height 1080 --sharpness 0 --contrast 0 --saturation 0 --brightness 50 --timeout 0 | sudo ffmpeg -r 30 -use_wallclock_as_timestamps true -i - -y -vcodec copy /media/video/testingNOW.mp4

I tried to run everything with the standart settings which again results in said behaviour.
/usr/bin/raspivid -o - --width 1920 --height 1080 --timeout 0 | sudo ffmpeg -use_wallclock_as_timestamps true -i - -y -vcodec copy /media/video/testingNOW.mp4

What am i doing wrong ?

Lower the resolution and check. I don't think your Pi can process the video fast enough. The freeze+speed-up is happening since the playback timing is set using the interval at which ffmpeg receives the frames.

It stops lagging when i set the bitrate to 1mbit or going down to 720p and 1.5mbit but thats not really a usable setup. The pi's core peaks at 25%. I don't think it's a performance issue or am i mistaken ?

Yep - that is definitely a performance issue then.


text:
Color-correcting super 8 video from 1975
I've got some super 8 video from 1975 that I had digitized, and the color is pretty wonky (here's a screen capture, we're actually skiing down a snow-covered road)

I assume it's the film itself and not the digitization, but now what?  I don't have a professional editing setup, but I do have Sony Vegas Movie Studio HD Platinum 11.0 which has a color corrector filter but I have no idea how to set the color corrector to improve the video.

How do I figure out what settings to use?  Will this tool do what I need?

Play with color corrector controls. Use "High" control to adjust snow to the tint you prefer, use "Mid" and "Low" to adjust face and hat. As you see, I moved "High" and "Mid" to the green/blue zone to offset red tint, but I moved "Low" to the red/yellow zone because this way the face and the hat looks better to me.
Or you can convert it to black and white with the Black and White effect.


text:
Merge clips with playback-speed automation
I've got two source clips, and I want specific frames to line up across the merged playback sequence.
Eg.
 clip1@frame38 & clip2@frame27 >> merge1@frame27
 clip1@frame56 & clip2@frame40 >> merge1@frame56

This requires the playback-speed of at least one source clip to be modulated between the synchronization points on the timeline.
I'm using Resolve, but if you know how to do this in fcpx or premiere that's fine too.

I'm a novice in Resolve, Premiere, and FCPX, but in case none emerges to write up an in-built or automatic procedure, in your place I would think of it as two ops:
First calculate and apply the correct playback speed adjustment. For your example:
clip1: 56-38 = 18 frames difference, 19 frames inclusive
clip2: 40-27= 13 frames difference, 14 frames inclusive
so to show those frames across the same time span for synchronized playback of both clips, your choices are to
play clip1 at nineteen fourteenths as fast: 19/14 = 1.357 = 135.7% or
play clip2 at fourteen nineteenths as fast: 14/19 = 7.368 = 73.68%
Second, now that they'll both be playing at the correct speed, it's just a matter of aligning any frame you can conveniently match up between clip1 and clip2.

This can be achieved with a Fit-to-Fill edit using 4-point editing.
We will assume:

Clip1 (38,56) - to be played at 'normal' speed
Clip2 (27,40) - to be fitted / re-timed

Perform the 4-Point Edit:

Arrange Clip1 on the timeline with the desired position/duration
Set the In and Out points on the timeline (move playhead on timeline and then key I (in) and O (out)) - using the positions of the 38th and 56th frame of Clip1 as reference
Fill-To-Fit Clip2:

Load Clip2 into the source viewer (double click it in Media Pool)
Set the In and Out points of Clip2 in the source viewer (move playhead on source viewer and then key I (in) and O (out)) - at its 27th and 40th frame respectively
Set the target/destination video track (Click the Vn of the desired track - which becomes [V1]). If necessary - add a new track first.
Add Clip2 to the timeline using Shift+F11. Or drag/drop onto the Timeline viewer [Fit to Fill] overlay by either dragging from Source viewer to Timeline viewer (when using dual viewer mode), or from Media Pool to Timeline viewer (when using single or dual viewer mode)


text:
How to make ffmpeg to generate NUMBER_OF_BYTES tag for every stream in file output?
Can ffmpeg count size of stream in bytes? I want to write NUMBER_OF_BYTES tag for every stream in file output on the fly. Like MKVToolNix does.
Input #0, matroska,webm, from 'm:\S01E18.mkv':   Metadata:
    encoder         : libebml v1.3.6 + libmatroska v1.4.9
    creation_time   : 2019-01-02T12:02:39.000000Z   Duration: 00:21:28.83, start: 0.000000, bitrate: 2742 kb/s
    Stream #0:0: Video: h264 (High), yuv420p(progressive), 1920x1080 [SAR 1:1 DAR 16:9], 25 fps, 25 tbr, 1k tbn, 50 tbc (default)
    Metadata:
      BPS-eng         : 2577777
      DURATION-eng    : 00:21:28.800000000
      NUMBER_OF_FRAMES-eng: 32220

      NUMBER_OF_BYTES-eng: 415279992 <--- !!!!!!!!!!!!!!!!!!!!

      _STATISTICS_WRITING_APP-eng: mkvmerge v29.0.0 ('Like It Or Not') 64-bit
      _STATISTICS_WRITING_DATE_UTC-eng: 2019-01-02 12:02:39
      _STATISTICS_TAGS-eng: BPS DURATION NUMBER_OF_FRAMES NUMBER_OF_BYTES
    Stream #0:1(rus): Audio: aac (LC), 48000 Hz, stereo, fltp (default)
    Metadata:
      BPS-eng         : 162801
      DURATION-eng    : 00:21:28.832000000
      NUMBER_OF_FRAMES-eng: 60414

      NUMBER_OF_BYTES-eng: 26227949 <--- !!!!!!!!!!!!!!!!!!!!

      _STATISTICS_WRITING_APP-eng: mkvmerge v29.0.0 ('Like It Or Not') 64-bit
      _STATISTICS_WRITING_DATE_UTC-eng: 2019-01-02 12:02:39
      _STATISTICS_TAGS-eng: BPS DURATION NUMBER_OF_FRAMES NUMBER_OF_BYTES

FFmpeg can't do this. These tags are not part of the Matroska specification; they are idiosyncratic to mkvtoolnix (7.0+).

Ok, thanks for the answer. I can still add any tag manually I want with ffmpeg, right? The problem is just to get somewhere value for this tag. Can ffmpeg just count length of the stream?

Yes, you can manually add any tag. ffmpeg can give a rough measure of stream size using ffmpeg -i file.mkv -map 0:0 -c copy -f null - for the first stream. See the frame= and then the size value on the last line.


text:
Two video sources framerates vary by .01 FPS. Will this cause problems?
I'm just getting started and have some user-level equipment, not professional grade.
My Sony Handycam outputs MTS and MP4 at 29.97 FPS.
My LG K30 smartphone outputs MP4 at 29.98FPS
Using Davinci Resolve, I notice a slight stutter in my rendered files. Is this .01 FPS difference the cause? If so, how can I get them to match before I import them into the project?
I'm working on a fairly modest laptop with an intel core i5 processor 1.7GHz - 2.4Ghz and 8GB Ram. Video controller just says "Intel(R) HD Graphics Family". I'd assume it uses part of that 8G of ram.

This shouldn't really be a problem and probablly is just a rounding error.
The shutter may come from somewhere else, are the export settings matching the 29.97FPS?

This may be an issue with the Variable Frame Rate (VFR) of either the Sony or LG footage.
You can try two new separate projects with only each of source files at their 'native' framerate and see if either stutters.
You could then try covert the stuttering source footage to Constant Bit Rate (CBR) using software like Handbrake (https://handbrake.fr). Where you can transcode (convert) the footage after setting the Framerate (FPS) to 29.97 and selecting Constant Framerate.


text:
Can you give a tip how to create a video with such effect?
I really like these effects and I would like to reproduce it.
I would like to point that I don't know how this effect is called. Whether it is made within a camera or in post production?
Here is 2 videos that have this. They are not identical but I think they are quite similar. I like how the video has some kind of distortion.
In the first video it is like fast forward with a lot of camera movement. You can see it starting from here

In the second video it is like fast forward but is slow motion. The effect can be seen when the drummer is in a frame.

So my questions are:

If it is in camera effect how is it made?
How to achieve it in video editing software?

The first one is a so called hyperlapse. Just not a smooth one. It is basically just speed up.
Same goes for the second one, just that it also has a diffrent shutter speed.
So how to do them:
Simply record the walking video and speed it up in post.
To achieve the special look in the second one, not every camera can do that. You need a camera with a really low FPS, for example 10, then you also expose 1/10 second. You should get a similair look, then you will need to experiment. But that effect may be hard to achieve on a digital/cheaper camera.

thank you for your answer. It really helped. Here is an another example. youtu.be/XmSdTa9kaiQ?t=46 . Basically I want to achieve this effect. It seems like it is slow frame rate but lip sync is not slow here. That is interesting. You can see the effect through the whole video.

@KirillRyzhkov I guess they shot it at 18 FPS with an analog camera. Also it is just slowly moving, but no slow motion I'd guess

all right, thank you

The lower clip looks like it was shot on film, with a slow shutter speed and slow frame rate, to get lots of motion blur within each frame.

thank you for your answer. It really helped. Here is an another example. youtu.be/XmSdTa9kaiQ?t=46 . Basically I want to achieve this effect. It seems like it is slow frame rate but lip sync is not slow here. That is interesting. You can see the effect through the whole video.


text:
Saving metadata per frame. What format to use?
I am building some software that does analysis of video. Each frame has metadata associated with it. We save the video so we can play it back later. We would like to be able to play it back with that metadata association (perhaps displaying the info overlayed on the video for instance).
What do you think is the best way to store this information? I was thinking MKV could be used, as it naturally has a concept of tracks. If it helps, I am using GStreamer for all my video manipulation

Welcome! I'm not sure you are going to get good answers here since your question is borderline off topic and is opinion based. That said, there really is no standard for metadata transport and it would depend on your audience. We would need more details. For a professional application, MXF, IMF, or even Quicktime might be better.

Hi. Thanks for commenting. What about it is offtopic? Is there anything to do to improve the question?

The off topic aspect is that your question is related to developing software that uses media, compared to making media that uses software. But it is a grey area. For improvements, a few questions off the top of my head: Who is your target audience? What is the metadata? Will it be consumed by other systems?


text:
help with ffmpeg quality check script
I am trying to write a script that compares a version of a video file to a master file that has been quality checked and outputs any frames that differ from the master as .jpeg files with timecode burned in. I'm using this command (wrapped in an Automator script):
ffmpeg -i file_to_test.mp4 -i master_file.mov -filter_complex "scale2ref[1:v] [0:v],[1:v]format=yuva444p,lut=c3=128,negate[video2withAlpha],[0:v][video2withAlpha]overlay[out1],[out1]drawtext=timecode='00\:00\:00\:00': r=24: x=(w-tw)/2: y=h-(2*lh): fontcolor=white:fontsize=42[out2],[out2]select='gt(scene,0.001)'[out3]" -map [out3] -vsync 0 output%05d.jpg

It works fairly well. The script creates a 50% grey video with only differences showing. I then run that trough select='gt(scene,0.001)' to only output frames that differ from the previous frames. It successfully detects glitches that are a bit bigger. Like lines going through the frame. But it doesn't detect single black pixels for example.
Now my idea is to look for ymin and ymax values and output all the frames, which have pixels differing from 50% grey by a certain amount. I'm sure this could be done trough signalstats. But I am stuck here. Can anyone of the pros here advise how to do this? In the best case keeping everything in a single command.


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Sharpness of Canon 80d
I am trying to figure out the sharpness while shooting video with the Canon 80d. I find that the video kind of never appears to be in focus. If I take pictures of the same things the image quality and sharpness is fantastic. It's just the video that bothers me. I should say that I am speaking about 1080p video.
Is the video from a Canon 80d low quality? Maybe due to a low bitrate or something? Is it the codec that messes up the video sharpness? Is there a software setting for sharpening up the videos to get the same sharpness as with photos? Is there maybe such a feature within Magic Lantern?

If it's a matter of quality, maybe you are using a too high ISO/gain? Keep it to the very minimum (I guess ISO 100, or gain 0db), set the shutter as slow as possible (equal to the fps, so 1/25 if you are shooting at 25fps), use the iris to manage the light and only at that point dare to higher the ISO/gain if the picture isn't clear enough.

@ilmietitore Slow shutter produces lots of blur. To obtain sharp frames shutter speed must be shorter.

True, but that depends a lot on the kind of content that the author is planning to film. Certain situations won't produce a perceivable amount of blur, while in other case (such as filming a panorama) an higher blur might even be preferrable. From what I understood, the real issue here is about the overall image quality, and I'm suggesting it might be caused from a too high ISO/gain.

By the way, a screenshot might help us in determining what's going on.

If the stills look sharp and detailed, then the sensor and optics are not to blame. I would blame the encoder and whatever sacrifices Canon made for the video mode. The 80d has the same Digic 6 processor as the older and cheaper models like the T6i.
I have an older model T4i, and it is very low-res in 1080p mode, while in 720p mode it is chock full of aliasing, completely unusable. I presume Canon improved its cameras, yet Canon DSLRs are not known for being particularly detailed when used for video, you will be better off with a Sony or a Panasonic.


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Sony UWP-D Audio Issues
I have a Sony UWP-D Wireless Lav Mic set and I'm experiencing difficulties with audio in my office building. I can film any exterior shots with no issue. I also have no audio issues with audio within an enclosed staircase in a parking garage.
But when I use the UWP-D Mics when filming in my office building, the sound drops out every two or three seconds. Due to this only being observed in my office building (so far), I'm inclined to believe it's in the building and not the devices - but I'm more than willing to try any suggestions if anyone else has experienced the same issues with these or other wireless lav setups.

After searching forums and YouTube videos, I believe I've found the culprit:
My building's ultrasonic motion detectors.
They emit an ultrasonic chirp every few seconds that the mics 'hear' and turn the volume down (attenuate?) for that portion.
I've contacted Sony Professional Equipment support and I've been issued a Beta Firmware upgrade for the transmitters (that's where the issue is, apparently) that's worked on one of my UTX-BO3's and my UTX-PO3.
The other BO3 got the firmware but has developed an issue where it can't stay on for more than 2 seconds on battery power. So it looks like I'll have to send it in. I'll update once I hear more.


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Are there any Final Cut Pro, Motion or Premiere plug-ins that allow insertion of PowerPoint or Keynote slides?
I haven't found an easy way to splice a slide into a video. I can save the presentation to a QuickTime movie in Keynote, but I need to do this twice a week for a number of slides.
I'm recording a live evening lecture series that is shown at a number of sites the following day. Since the sites only have one projector, I need to give them a video feed that has both video of the speaker(s) and the slides.
I've been doing this manually, but it's an hour-long lecture that ends at 9 PM. I'm often up into the wee hours of the morning trying to get everything sorted and rendered and posted to Vimeo for a 6 AM first showing.
If you're doing something like this, please share your workflow.

If your show requires some level of postproduction, then:
1 Record the live video feed of the presenter's slideshow.  Don't just export the slides as a movie from Keynote.  Syncing slides manually will definitely keep you up into the wee hours of the morning, so don't do it.
2 Import the camera feed(s) of the speaker, any extra audio sources, and the slides, group them in a multicam clip, and sync them all together.  Again, for fastest postproduction turnaround, the more automated you can make the sync process, the earlier you get to go home.  Timecode based sync is the fastest, but most expensive.  A hand clap is free, but won't help you sync the slides to the speaker.  You've obviously already figured out how to do that manually, but finding one sync point per hour of footage is way better than doing it for x number of slides.
3 Once you've been through a couple of episodes of your show, and ironed out the kinks in look dev and process, save an extra copy of your project file and strip it of reference to any of the media you imported in step 2.  Leave everything else about this file alone; titles, intros/outros, etc. Use this file as a template for your show.  If your process involves complex file hierarchies, do the same with your file hierarchies: have a "template" project folder which includes your project files, working directories, output directories, stock graphics, etc.
4 Now, each time you do a new show, duplicate the template structure, rename it accordingly, populate it with your fresh content, fill in the blanks, and start over at #1.  As you work through more iterations, tweak the template files to incorporate as much repetition as you can automate.  You might want to pick up a scripting language or two, maybe look into some machine vision algorithms, keep an eye on github. Automate anything that gives you carpel tunnel.  Reschedule every progress bar you see to a time when you won't see it.
But if you don't need to make any kind of postproduction edit, then the answer's simple: Don't.
You've now left the world of digital film production and entered the land of broadcast.  To pursue this avenue, you'll need to be able to mix and switch all of your live a/v, and record or OTT the program.  Your requirements are minimally a $100-ish converter box and a laptop, but again, the more money you can throw at it, the better.  Blackmagic ultra studio mini recorder or whatever Aja's equivalent product is called would get you started.

Thanks for taking the time to reply. I'm already doing what you've suggested, unfortunately. There's minimal budget (actually, there is no budget). Recording the projection of the slide show gives extremely poor production values...that's why I'm looking for the plug-in

I find it difficult to believe that everyone who needs to insert slides into a video presentation follows such a cumbersome, time-consuming process.

Why would recording the projection give you quality less than what you're already willing to project in the first place?  It should be a 1:1 copy.

Everyone thinks video production is easier than it is.  The truth is that it's like any other design process: the more time and money you can put into it, the better the results.  How is that surprising?

Panning a camera to show the projection screen and back is not aesthetically pleasing. We're all volunteer and are trying to make the best of space and equipment that is available. Even if we had the funds to purchase equipment at each site, it needs to be something we can use without tampering with the facility's equipment too much. A plug-in would allow us to do everything in software.

I don't mean point the camera at the screen, I mean capture the  presentation signal before it gets to the screen. Either use screen recording software on the presentation laptop, or insert a recording device in the signal chain. What, exactly do you expect a plug-in to do for you that isn't built in to the basic functionality of an NLE, anyway? "Splicing" falls pretty squarely under the domain of the "E" part. Also, I never said anything about purchasing equipment at multiple sites.

There are about 60 slides per session. I already note when the slides are shown by slide number and approximate time code. I would like to point at the PPT or Keynote file, scrub to the correct timecode and pop the correct slide in place. Next time code/next slide. I can't go fooling around with the facility's equipment.

So, first, Keynote and PowerPoint are direct competitors with proprietary formats; you’re unlikely to find any plugin designed to work with both.  At the same time, it’s also unlikely that you can force all of your presenters to use one or the other, exclusively.  But your bigger problem is that neither software records a timestamp when the presenter clicks “next slide.”  Which is why, like you said, you note "approximate" time code…

…Without an exact time to go by, a computer would need to do statistic analysis of the video image to guess transition times.  Resolve's Scene Cut Detection does this, but it generates so many false positives that you’re better off doing it by hand.  Nevermind the difficulty of scripting integration with EITHER slideshow app, you’d have to record the video feed of the slides ANYWAY, which you say you can’t do.

The best tools to work with when all you have are approximate time code are the ones that are already built into the NLE.

That's a good point. It would be good if we could automate getting the timecode from Keynote/PowerPoint.

I think you're over-complicating things. I don't need millisecond-accurate cuts to the slides. And considering that I can load PPT into Keynote, I only care about Keynote.

Actually, that gives me an idea of how to do this with Automator.

I'll be interested to see what you come up with.  Don't forget you can always answer your own question here.


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Maximum YouTube video stream audio bitrate
I know that YouTube no allows 96kHz audio. But I also worry about second thing the bitrate. How much is possible maximum to get from YouTube stream? I'v only found recommended value of 384kbps, but I need to know if this number will be reduced by YouTube if I use bigger and if using bigger number is possible at all.
Also what are other services that allows this or higher quality of audio being streamed along with video.

YouTube support indicates that they stream at 128 kbps AAC for normal users, and 256 kbps AAC for premium ones.
Source 1: https://support.google.com/youtubemusic/thread/168815?hl=en
Source 2: https://support.google.com/youtubemusic/thread/338369?msgid=348540


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How can I create an animating GIF 2D illustration in 3D?

How can I create any 2D animation to do this type of animation? What programs can I use?
I have AfterEffects and Cinema4D. I am not too well-versed in these platforms. It would be great if you can recommend the best workflow for this. :)

You need to ask specific questions.

I don't see the question here. Load up c4d, create a fancy animation, export it as a gif.


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Where are the Source Scaling Options in Adobe Media Encoder CS6?
In Adobe Media encoder CC, the Settings in the drop-down menu have a Match Source option that will preserve the pixel size of the file.

In this Adobe Help article, the authors of the page state that Adobe Media Encoder CS6 can let the user chose "Match Source" in an "Output" panel.

I have seen this panel in the Export window of Premiere Pro before, but my version of Adobe Media Encoder doesn't seem to have this panel:

When I add projects to Adobe Media Encoder, they show up in the Queue panel, and the settings are in the top right Preset Browser panel. None of them has a "Match Source" option.
If I am directly adding video files to the Encoder, which isn't in one of the preset pixel sizes, how do I encode it properly in Adobe Media Encoder CS6?

If you're just looking for the h.264 match source settings preset, you'll find it in the Preset Browser under System Presets > Broadcast > H.264

If you have another preset that you want to use, or if you're wanting to customise one, then if you look at the presets in the queue item you'll see that you can click on the name of the preset to edit the settings—note the blue line when you hover.

Once you do that the familiar export settings window will appear, with the great big Match Source button.

Here are the options in the H.264 section of the Broadcast presets in CS6. All of them seem to change the pixel size. I clicked one of them at random, "Vimeo HD 720p 25" after dropping a 632 x 488 video, and the preset changed aspect ratio to 1280 x 720 (black bars on each side). "Change output size to match source" is greyed out in the Source Scaling menu of the Export Settings. No "Match Source" in this window anywhere either.

Hmm, that's an old version of AME. Why not just manually match the source pixel dimensions? You can then save that as a preset if you need to.

Yes, it’s a question about CS6 (see title of the question ). I have several computers recent and old, and I’d rather not have to input pixel size manually if I can avoid it. It says on Adobe Help for this version that it can be done... so it should be doable...


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Security video missing time and frames
Why does a DVR or CCTV system randomly drop time or frames? I am viewing footage that says it is 12fps but, it is scanning at 10fps. These files were exported as AVI.
Thanks

Usually dropped frames are down to processor or disk bottleneck issues. If the frame cannot be compressed or stored in time, most applications will drop in order to move on to the next one.
The solution is often simple - increase the processing power or disk i/o speed.


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Dump keyframes of a livestream
I'm trying to create a "highlights" gallery for an event that's been livestreamed (say an Apple product launch keynote or similar H264 stream) - is there a way using FFMPEG to dump all the keyframes / a frame every 5 seconds into a folder as images? I can then curate the most interesting ones.
I'd think that keyframes are a better bet because they'd represent a scene or camera angle change, which would correspond to "interestingness", but are there any other better ways to do this?

Basic form is
ffmpeg -i livestream -vf select=key -vsync 0 -q:v 1 snaps%d.jpg


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Lighting in footage oscillates between warm tones and greenish tones
This is my first time posting on this forum.
I do a lot of flatlay filming, timelapses, and my videos tend to have lots of cuts. I've noticed that my film gradually shifts between purple tones to greenish tones during filming, and it is incredibly noticeable during timelapses and when cutting from one point in the video to the next. I use a Canon 70D body, but I've experienced this on a Canon Rebel SL2 and on a Canon EOS 6D Mark ii. It might be a default camera setting on all of the cameras, but I think it is more likely that it is my lighting rig.
I use a LimoStudio lighting rig ( https://www.amazon.com/LimoStudio-Photography-Lighting-Equipment-AGG814/dp/B00E4YS2XU/ref=sr_1_3?keywords=limostudio&qid=1551213285&s=gateway&sr=8-3 ) with fluorescent bulbs. Recently, I bought another lighting rig ( https://www.amazon.com/gp/product/B00MBVOIJU/ref=ppx_yo_dt_b_asin_title_o00_s00?ie=UTF8&psc=1 ) and did a test video to see that this lighting rig produces the same warm to cool oscillation, though not quite as pronounced. So now I'm looking for help because I don't know what else to do.
I film at 60 fps to avoid banding. I usually film at 100 iso and around 5.6 aperture, depending on the lens.
Has anyone else experienced this or found a solution? Is this a fluorescent issue? I am appreciative of anyone who can point me in the right direction.

Welcome! I'm not familiar with those specific cameras, so I can't point you to specific settings, but how have you set the white balance? Did you just leave it in auto? I know there have been some recent improvements, but fluorescents generally have "problematic" spectra. At least for older tube fluorescents, you had to use plusgreen/minusgreen gels to get the color temp right. Have you considered LEDs?


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Record video 3MP/30 FPS for 9 days
I am a Software Engineer but my knowledge on cameras and/or codecs is very limited. I know that recording a video 9 days on 3 MP and 30 FPS would generate a huge file (probably 60 TB+). So compressing the video with an encoder is probably what I need here. I am mainly developing on the .NET Platform. I found ffmpeg to be able to encode existing videos but also Live Input from Webcams or industrial cameras.
However I am asking how I can achieve this type of task and what I have to take care of. Do you have any tips on this?
My aim would be to generate a video over a time of 9 days in total. Maybe the video cannot be in one file, but I think it would be good to have one file for each hour or something like this. Is that possible?
Thanks in advance

"it would be good to have one file for each hour". See the segment muxer.

What is the purpose of the video? If you are capturing for machine analysis, a perceptual codec designed for humans may not work for you.


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Adobe Premiere wrong Aspect Ratio for 1080p video
I'm simply trying to setup a 1080p video. All the video sources are 1080p, here are the initial settings:

However when I import and drag a new (and definitively confirmed 1080p) video to the timeline the preview shows a small black border on the left and right sides. I even removed the "Tile Safe Area" and "Action Safe Area" and the left/right black borders still appear.
The only thing I've noticed is that on the project panel is that the video info column shows the video at "0.75" [unknown units]. I am absolutely certain that the video is 1080p (1920x1080).
How do I fix this to get an exact one-to-one ratio for 1920x1080? The input videos are recorded via Open Broadcast Studio and the settings seem to be good. I've been trying to test things out to figure out what Premiere CS3 does support (very very little) to increase compatibility.

It seems that your 30p video has been recorded with PAR=0.75, which makes it 1440x1080, not 1920x1080. Still, this should not preclude it to properly render to 16:9 DAR. I have no idea what Premiere does not like. Also, just wondering, where did you get 30.00 fps video? From a smartphone?

@RustyCore "The input videos are recorded via Open Broadcast Studio" - the videos measure at 1920x1080 when played in Media Player Classic without the black border; how would I make sure OBS shoots it in true 1920x1080 then?

First you need to verify the params of your video using something like MediaInfo: https://en.wikipedia.org/wiki/MediaInfo It may as well be 1920x1200 if this is native resolution for your monitor, then when resized to 1080 lines, you will get pillarboxing.


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Why does my video show wrong colors after import into after effects?
I would like to edit a video, but as I import it into AfterEffects it does not show the correct colors. VLC does show the correct colors. It's not the codec, because h264 is supported by aftereffects. It is not the edit lists. The imported video looks like this.
I suspect alpha has somethin to do with it, because if I decativate alpha (ALT + 4) the screen becomes white.
After rendering it still looks like this.
I'm at a loss where to look for the cause, please give me some hints where this is coming from and/or how to get rid of it.

That looks like corruption in the file. The screen going white when you hit ALT-4 is not because it's deactivating alpha, it's showing you the alpha channel - and as the whole frame is solid the alpha channel is pure white.

I'd recommend trying to convert the source file to another file type before importing into After Effects.
Maybe try the media encoder, vlc or an ffmpeg variant.
If you can, convert to an intermediate mov-codec or an image sequence like tiff.
If your file seems fine in VLC etc. this might work.

For me it was solved by going to file->project settings->Video Rendering and Effects(tab) then selecting mercury software only and saving it.
After re-importing the video file, color was normal.
Youtube video:


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can I do parent other object to other object masked by mask tracker?
can I put information of mask tracker to another object's position??
or
can I do parent other object to other object masked by mask tracker??

So that's two questions.
1: You sure can _put information of mask tracker to another object's position.
what information are you talking about?
2: Yes.

1. In recent versions (2018+) of AE you can access the mask vertices through expressions using the points() function or the pointOnPath() function that is available for all path objects.
The points() function returns an array of all the path vertices, so you need to use the square brackets to designate which member of the array you want, for example :
thisComp.layer("my masked layer").mask("my tracked mask 1").points(t = time)[5]

would give you the sixth (counting starts at zero) point on the mask, in layer coordinates (so the position is given relative to that layer). t=time is the default and is optional, you can set it to return the value from another time e.g. t=time-someLayer.inpoint.
Or to find a point along the path, not just a vertex:
thisComp.layer("my masked layer").mask("my tracked mask 1").pointOnPath(percentage = 0.5, t = time)

would return the half way point on a mask.
Tangent handles are also available for expressions.
Adobe's documentation is available here, should you wish to RTFM
2. Not quite sure what the second part of your question is asking.


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How do I get good at animation even though I'm not good at drawing and digital art?
I've been struggling for a long time to get good at animation. I'm a storyteller at heart, so I have been trying to write books for a long time. It's just that I'm a visual person and while I am getting into books, it's not something that I value above the other ways I can tell a story. Animation is something I know really well, since I grew up with cartoons, anime, and video games.
When it comes to digital art I always have trouble getting used to the interface and making good art on it. This involves any program really. I have been reading The Animators Survival Kit, but so far it hasn't helped me much. No matter what tutorial I watch, read, or listen to it doesn't really help. I don't know if it has to do with my mentality or procrastination or anxiety or whatever. I'm just a beginner artist, I haven't developed my style.
I seek to revolutionize animation. Since (in my opinion anyway) we're kind of limiting it with American animation almost always being comedic, web animation always being parody and usually not original, I'd talk about it more but I'd be here all day and it's not what I'm focusing on.
I only got into digital art and animation recently (2016 I think, it was when I was turning into an adult.)

Hard work. One does not become a god in animation overnight.
Learn to master Illustrator, Photoshop, After Effects. That's virtually all you need for professional animation. Or go and look for programs that fit your workflow best and stick with them. Don't try to be "moderate" at every program, master your few.
There are great books and masterclasses and guides on sites such as pluralsight. Create something, realize it sucks, do it again, improve. That's the natural way all of us had to learn design, animation, compositing etc.

Practice. Practice. Practice.
If you can't draw at all, try stop-motion animation.
Ask yourself: what do I find compelling about animation? What does it do that no other form of expression does? I'm asking this because you yourself mention that you can't draw nor really get in digital animation. And yet, you persist. So, why? Are you sure it's not the stories that you like?
Also, no need to master any program to start animating. That's putting the bar way too high. But you will eventually, just by using these programs over and over again.
Learn the basics of Premiere Pro, or Photoshop or Affinity Photo (cheaper!), or iMovie if you have a Mac. And start doing stop motion stuff. Animate beans on a counter. One bean is one color, and the others are something else. Tell your story. Whatever you do though, keep it simple! You're not going to "revolutionize animation" overnight.
Animate play-dough. Then start using sounds, as demonstrated in this video Animation Tutorial with Tips and Tricks
Find a group of like-minded people you could work with. no tutorial or book will ever teach you enough. Talk to people. Make connections. Work on projects.
If you can't draw and can't take animating things image per image in some program, write. Write your scripts. Feels to me that that is where your strength is.

Thank you for the advice. However I don't think stop motion is the type of animation I want to make. I mostly do 2d animation because drawing is what I put my mind to, recently at least. Plus drawings are what I'm into. So yeah.


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setup for recording full field sports unattended?
I'm looking for setup that I can use to record field sports (like soccer) unattended, for coaching/review purposes.
Currently I'm using a Chinese GoPro knockoff mounted to a tall fence, however the 170degree lens is not wide enough to capture the whole field because the fence is too close to the field.
I'm considering a 360 camera like the Insta360 One X, but it seems like an inefficient use of money if I only need a single ~200 degrees lens. I'm also not going to need many of the `action cam features' like image stabilization.
Anyone have any setup or specific camera suggestions? I'd like to stay under $500.
I also considered using two Chinese GoPro knockoffs but from looking at other questions on this site it seemed like too much work to stitch them together in post.

While not officially supported, it is not difficult to replace the lens in a GoPro knock-off. The lenses in these action cameras are using a M12 mount and can be replaced. So: you could try to replace the lens as a first step. Depending on what you are looking for in the video, details may become too small and two cameras would be a better option.

How To Replace GoPro Lens - DIY

I have done this myself with two cameras but replaced the lens with a lens that has a narrower focus. The lens costs less than 20 USD/EUR/GBP.

72 Degree 4.35mm 1/2.3 Inch Sensor 10MP M12 Lens

When it comes to capturing the sport only for reviewing purposes, it should be the most affordable idea to mount two cheap, wide-angle (around 20mm) camera to each goal. You shouldn't go overboard with wider lenses though, because although you see a wider range, the center point will get further away the wider your lens gets. So, buying two ~200$ gopro-knockoffs and putting them at each end of the playing-field.


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Removing Metadata Title in mp4 files
I was able to remove metadata titles in mkv files through mkvtoolnix with this code
@echo off
for /r %%g in (*.mkv) do ("D:\Programs\MKVToolsNix\mkvpropedit" "%%~g" --tags all:"" --delete title )

I want to do the same thing with mp4 files too which probably cant be done with mkvtoolnix. How do I do it?

You can try FFMpeg.  There are examples showing how to strip all metadata and removing just a single item isn't much different.
Try
ffmpeg -i in.mp4 -metadata title= -c:v copy -c:a copy out.mp4
This can also be done with exiftool as of version 11.39. Exiftool can also do it in batch without need of a script.
exiftool -ext mp4 -Title= /path/to/files/
This command creates backup files.  Add -overwrite_original to suppress the creation of backup files.  Add -r to recurse into subdirectories.

But what I want is to only edit the file not create a new one. can it be done? MKVtoolnix can do it.

I don't know of any program that can easily edit such metadata for an MP4.

Try mp4box.......

To follow up on @Gyan's comment, see https://superuser.com/a/970713/314998

In Windows, you can right click on an MP4 file, ensure it's not set as read only (uncheck Read Only->apply if it's set), then click the details tab.  At the bottom of the details tab there is a clickable option "Remove Properties and Personal Information."  Click that then select the "Remove the following properties from this file" radio button and check Title (and any other properties like Comments that you want removed" then click Okay.  This process will remove the title property from .mp4 files.
For MKV you can use mkvpropedit like you've been doing, but in powershell you can do it recursively for all files.  I use Plex, so my Movies dir has a child dir with the title and year, with the mkv and related files in that child dir.  With this script you only have to point it to the Movies dir and it will recursively clear up the title attribute on all of the mkv files in all of the child directories (Obvs, be sure to change your -Path to the root dir where all your media files exist):
get-ChildItem -Path "D:\movies\" -Recurse -Filter *.mkv |
foreach-Object {
    & “C:\Program Files\MKVToolNix\mkvpropedit.exe” $filename -d title
}

Hope this helps anyone who landed here after a google//Duck Duck Go search!


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ffmpeg Does using SSD improve render times when disk usage 100%?
Disk usage while rendering with ffmpeg is hitting 100% most of the render. Cpu and ram though are only using half of what is available.
Would moving components to an ssd improve the operation time? And which components exactly would need to be moved to get the benefit? i.e. the ffmpeg.exe, the output files, the input files

What bitrates are the input and output?

Try using one disk for source material and a separate disk for the rendered video output.
There are lots of different SSD disks - cheap MLC ones, and more expensive but faster SLC ones.
If using RAID, there are several types. RAID5 and RAID1 probably won't be faster. RAID0 (striped array) is intended to be faster than a single disk.
What interface are you using? If you are using it as a removable drive, have you changed it to allow write-behind caching? (This allows the computer to move on while the drive is still writing the buffer to disk)

+1 for this. Assuming the source/destination are on the same drive, it is probably thrashing the head back and forward, which is the issue. If you can get ffmpeg to buffer more in memory between each read/write, that might assist, but 2 drives would be better. SSD would likely also help (no head thrashing, but still I/O bottleneck on the single drive), 2 drives is always preferred when processing large files like this.

If you have that option of moving to SSD there's no better way to find out if it improves, other than just trying to see if it does.
That said, input and output files on the SSD should greatly improve read and write speed. Moving the exe is less of an issue since its commands aren't demanding and are usually cached in memory (RAM).

An SSD has a faster read and write-speed compared to HDDs. However, if you're looking to use a drive for years, you should rather opt for an HDD. Reason is, that SSDs wear out over time and are definitely not made to last years on end. Additionally, HDDs give you an idea when their demise is inbound, because they make nasty noises when the time has come, giving you the opportunity to save and backup your files. SSDs don't care about your feelings and just die at some point.
If the money aspect is not your greatest worry though, going for an SSD will improve the speed with which you operate due to the higher transfer-speed. In your case, I would go for a 1-2 tb SSD on which you run your os and keep files that you're working on right now. Additionally, I'd buy like 5-10 tb as an HDD to keep the files I'm done with or didn't start yet.

Might be worth mentioning RAID drives, which have the speed of SSDs with the longevity of HDDs and better data security than either. The downside is of course, cost.

Raid systems come in different versions, there is a raid for every possible use in IT. However, mirroring your SSD in a raid system doesn't make them last longer, but the data is definitely more secure since you have a backup drive which is always up to date. Keep in mind that for this type of raid, you'll practically need twice as much memory from your SSDs.

I was talking about RAID-ing spinning disks. This has been the norm for high end video workstations since it was the only way to get fast enough IO speed for video until the advent of SSDs. My last workstation had a 24Tb spinning disk RAID that had nearly the same read speed as a good SSD. To get the same size storage using SSD would have been prohibitive. And it had the benefit that if one of the physical drives fell over, my media was still fine. I think it was RAID 5


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SDI or HDMI to USB3 interface with 16 audio channel support
I'm looking to take a video feed and multiple audio channels into a Windows laptop. The audio channels are essentially live event commentary in various languages, which the laptop will then stream to different Youtube channels. The production team embeds all 16 audio feeds onto an SDI cable alongwith the video feed and essentially gives me just one SDI cable to do what I have to do.
Blackmagic Ultrastudio Mini does a good job getting 16 embedded audio channels in, but it has a thunderbolt interface, which is not too common among Windows laptops.
I've got a Magewell USB Capture SDI plus, but that only brings in 2 audio channels embedded in the SDI.
Are there any alternatives that are capable of pulling in all 16 embedded audio channels in the SDI?

Contact some vendors directly. (eg BlackMagicDesign)


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Export - exported video but didn't look like the preview within Adobe Premiere
I just exported a horizontal video that I've edited to a vertical video but when it's exported it just didn't come out as I expected, it became vertical and zoomed. This happened for the first time I've experienced in premiere pro since I used proxy for this first time. Does anyone has experienced or gone through this before?
here's what I edit
and when it's exported

Welcome! What are your sequence settings? What are your export settings?

First of all, if you are using proxies, don't use Proxies, and see if that solves the issue.
If it doesn't, move on to the next step below.
The issue is that there can sometimes be a problem when the final export doesn't match the sequence created by dragging the source clips onto the timeline.
When creating the Sequence, instead of dragging clips onto the Timeline directly, create a new Sequence in the Project bin while at the Assembly page (by clicking on File option in the menu bar, New > Sequence, click on the Settings tab in the following dialog box, then change the Editing Mode dropdown to Custom, whic lets you edit all the settings), that has the exact resolution and FPS settings as you want in the export. Then double click this new Sequence to load it onto the timeline. Drag the clip onto the timeline and when Premiere asks if you want to change the Sequence settings to match the clip, select No. Now transform the clip from the Edit tab. Rotate and zoom or crop, whatever your operation is. This should hopefully solve the problem.


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Cannot select individual caption in premier timeline
I have just added an SCC file to my premier project.  I can see each caption "box" in the timeline, including the handles.  However, if I try to drag the handle of one caption box left or right, it moves all of the captions as a group.  I cannot unlink them.  Advice?

can you provide a screenshot? I'm having similar issues, but not exactly the same. Premiere seems to have some problems when it comes to editing captions.


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Why is the EOS M6 Video Bitrate lower than the EOS 1200D/T5?
I was looking to upgrade to the EOS M6 from the EOS 1200D/T5, but one thing that confused me was that the M6 has a listed video bitrate (at DPreview.com) at 1080p60 of 35 Mbps, and for lower framerates at 24 Mbps. Meanwhile, while I can't seem to find any actual bitrate specs for the 1200D, opening up a 1080p24 video file in Windows Explorer and switching to the Details tab  under the Video section lists Data rate as 46541 kbps, with Total Bitrate just below as 48077 kbps, which if I'm not mistaken, is equal to 48.07 Mbps (division by 1000 to get Mega-bits from Kilo-bits). So how is it that the newer Canon APS-C camera has a lower bitrate with a higher framerate? Or am I just reading it wrong?

That would be a great question for Canon, because only the manufacturer can provide the reasons considered when producing a new model. I only can venture a guess that the M6 is a smaller camera that presumably is a lower-level compared to full-body T5. Maybe higher bitrate results in more heat, and the smaller body may have issues with dissipating it. Your guess is as good as anyone else's. It seems that the M6 uses the same H.264 as the prior models instead of the more efficient H.265, so seems that this is not the reason for decreasing the bitrate.

It could also have an encoder which is smarter because of faster processing hardware or improved algorithms - so that they deemed they get good enough output with lower bitrate.


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Samsung Note 9 high FPS videos won't play on Mac? (black screen)
I'm trying to edit some video clips recorded on a Samsung Gallaxy Note 9, at a high FPS (60, or 120), and the mp4 files won't play on my Mac. More specifically, they play the audio, but the video just shows a black screen.
Videos recorded at 30 fps look fine, but anything at a higher FPS shows with a black screen, either when I play it with Quicktime, or if I try to import it into a video editing app like Final Cut Pro or iMovie.
Anyone have any idea if a certain video codec is required to get it to play on a Mac?
Thanks!

Try the following:

use the adobe media encoder preferably, or some other encoder to encode the file as something like prores422 or prores4444.
use a different player, like vlc, djv, etc.
Check if you have all codecs installed, for quicktime and h.264, etc.
Open the file on a different machine. If it still won't work, it's probably the file that's the root of the problem.

How big is the video-file? If it's around 3mb or something, that might indicate that there is no visual information in the file in the first place. If the file is moderately big, the problem might be with the player and/or the codecs on your machine.

Thanks for the reply! It's moderately big, and I can play it back on the mobile device, but on the Mac it shows a black screen, even if I play it with VLC. It's not just one file, it's any file that I record from the Samsung device if they are over 30 fps. Any idea where to get more codecs? The encoder is a good idea. I'll see if I can find a good one... I wonder if Apple Compressor might work? I hope I don't buy it just for this purpose and then find out it won't work for this.

Looks like an open source app called Handbrake is able to convert the file. Thanks for pointing me towards encoders! It still would be nice to be able to play and edit it without converting though, since I've got a lot of files like this.

Handbrake would've been one of my recommendations aswell (brilliant program in my opinion). It looks like your Mac only wants to play the converted file because the original is encoded in a codec that your Mac doesn't know. Try finding a pack of all quicktime and MP4/h.254 codecs and install them, then try again


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Can't Get Playable Video From Images in FFMPEG for Oculus Go
I have a series of PNG images created in Blender that I need to combine into an mp4, or really any video format playable on the Oculus Go VR headset. This page has detailed information about video specifications for their platform Oculus Video, although I'm actually trying to use the apps Oculus Gallery and Skybox VR for local playback, so I'm not sure it applies the same.
ffmpeg -r 24 -vcodec h264 -i my_images_%04d.png -pix_fmt yuv420p output.mp4

This command is failing and giving me the following output: https://pastebin.com/xyNck7fa. If I add the corresponding audio with -i my_audio.wav, I get an audio-only file with a .mp4 file extension.
I was previously able to produce video that was playable on my PC but didn't play back at the correct speed to match the corresponding audio. (This is quite clear because it is specifically a music visualization video.) When transferred to the headset, it was unable to play at all in Oculus Gallery (would try to load indefinitely), and it would kind of play in Skybox VR but at maybe 1 fps, clearly struggling. To be honest, I'm not sure what I was doing differently before that allowed me to at least get a video. I had thought this was the exact command I was using, but I let some time go by and I guess I forgot some option.
I played the video I was able to create before in VLC and pulled up codec information to compare to other MP4 files I had downloaded. There were only two significant differences: the resolutions and the 'decoded format.' The resolution of my frames is 2880x810 (which I'm aware now is not the ideal aspect ratio for VR, but I can work on that once I have playable video), whereas a typical video I have is 864x480. All of my downloaded MP4s have the decoded format field blank when viewed in VLC, but the video I created reads 'Planar 4:4:4 YUV.'
That is all the relevant information I can think of. Can someone help me figure out what I need to do differently?

This, -vcodec h264 -i my_images_%04d.png, tells ffmpeg to use the h264 decoder to decode the input. a) this is wrong for PNG images. amd b) manual decoder specification is needed in only some cases. Remove -vcodec h264. Share the full readout for ffprobe WorkingVideo.mp4

@Gyan My issue is solved, but in case it helps someone in the future, here is the ffprobe output for my first video and the video that now works as it is supposed to

Thanks to u/jesus_is_imba on Reddit for the following answer:
ffmpeg -r 24 -i my_images_%04d.png -c:v libx264 -crf 18 -preset slow -g 48 -pix_fmt yuv420p -movflags +faststart output.mp4

The -g argument defines keyframe interval in frames and according to Oculus should be 2 seconds, ie. 2x your frame rate.

This command produces video that plays back perfectly both in VLC and in Oculus Gallery.


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How do Apple do this? (iPhone 4 commercial)
Take a look at this short iPhone 4 advert...

How do they keep the phone so stable throughout the video? If you have ever tried to hold something completely still in close up, it’s extremely difficult.
If you look very closely, the left hand appears to shift very slightly in relation to the phone. This would imply the phone is fixed onto a mount, but the initial section amd the move at 25s show that it’s not.
I have tried using software stabalisation in post, but this does not look convincing.
Is the screen of the iPhone superimposed in post, over a still hand and device? This seems unlikely I think.
Any thoughts on this would be very welcome.

It's a still. For commercial beauty shots like those, you hire a hand model and freeze frame the video once the phone is held. The screen is obviously just a Greenscreen or simply black so it can be replaced afterwards. Then, the finger swipes etc are recorded seperately (probably in front of a Greenscreen) and then composited onto the screen to fit the animation.

The hand with phone is freezed. Than they overlay the hand motions (Probablly shot with green screen) and animate the phone screen.


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Viewing mesh outline in After Effects
In the tutorial I am viewing online, the teacher is able to view the mesh outline without the mesh triangles by selecting the mesh in the effects list within the layer. Its unclear even from putting the question into Google how to do this? Can anyone help? Hopefully the attached image illustrates what I mean.

Try enabling paths and alike by clicking on the button next to the one for your safe areas and rulers.
Can't upload a screenshot unfortunately, Stackexchange keeps crashing when I try...

Thanks for your efforts. It seems that the outline of the mesh only appears when the puppet starch tool is used rather than the regular puppet tool.

Ah, interesting. Glad you found the solution :)


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How do I add an intro to a video without having to render the entire video again?
I have some 5 minute footage that I have, I simply want to add my intro and outro to that video before putting it on YouTube, if I do that within after effects, I have to render all of that which would take forever on my computer, is there an easier option?

Take a look on ffmpeg. It allows to add videos without reencoding

Using After Effects, I don't think there is.  But there are ways to make your life easier.
If you have a complex comp, if you've rendered the whole thing out to a format like ProRes (even though the files are large), it's relatively quick to drop in an extra intro and outro either side of your ProRes file, so you won't have to re-render the entire project again. You could also look at pre-renders to speed up your projects.


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Ideal frame rate for video with moving objects
I am working on a drone to capture a soccer game. What should be ideal minimum frame rate for the camera? Does it depend on velocity of objects(ball, players) in the game?

There are two distinct types of frame rates and how they're captured and played back.

interlaced
progressive

A progressive frame rate transmits whole images at once, depending on whether you use NTSC or PAL, you'll start on the low end with 25/24 FPS. From there, you can go up as much as you want, but the conventional frame rates are usually 25, 30 and 60. Because you're filming a soccer game, 60fps will give you a more crisp, clear and even slower viewing experience, without actually slowing down the footage.
When it comes to interlacing, it's a bit more complex. TV and broadcasts used and still use interlacing for the most part. With it, you'll only send half the picture, first the even or uneven rows, and after that the other half. Using interlacing, you can safe a lot of data and make the image still look quite good, however, in rapid movements (be it a whip pan or alike), you'll be able to make out interlacing lines which I absolutely detest.
That said, you should most likely opt for 60p (p standing for progressive) or, if you can't get progressive frame rates, 60i or 120i. Interlaced frame rates get confusing, because for example 25i and 50i is practically the same, only the name differs, since you're sending 50 half-frames a second, but 25 whole frames.

A few considerations - the key one is - where is the final video going to be shown?  If it's on television, different regions require different frame rates.  If it's online, e.g. youtube can show content up to 60 fps.
Are you planning to slow down any of the footage?  For example, if your delivery frame rate is 25fps (as it would be for UK TV), you could shoot at 50fps, and slow down by 50% without losing smoothness of motion when viewed at 25fps.  Shoot at 100fps, and you could slow down to 25% original speed etc etc.
Finally, in many countries there are strict rules about flying drones over professional sports games.  There are also safety issues about flying drones over anyone.  There are ways to mitigate these issues and work around them, but definitely also worth considering when shooting video from drones.


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target edge of null object rather than centre
I'm a total newbie to After Effects, and I've been trying to follow this tutorial to create an animated callout: Youtube Advanced Callout
The relevant bit is about 9:00 - 11:30 in the video...
I've got it working nicely (though not as good as his!) except that I would like the right hand tip of the first animated beam ('Path 1' in his tutorial) to target the EDGE of the outer circle ('Shape Layer 1' in his tutorial) rather than the centre, so that it appears out of the stroke rather than the middle...
I've tried to move the position relative to the null object but every time I link its position to the null object with the pick whip it snaps to the centre of the null object, meaning that the beam still ends up starting in the middle of the circle...
I tried moving the handle for null object 1, but that just means the centre of the circle and the beam then both target that handle and the problem remains...
If I move the handle for the circle then it screws the circle animation, because it then appears from the edge...
Any suggestions for how I could make the first beem target the edge (the stroke) of the circle rather than the centre would be greatly appreciated... I'm a complete n00b to AE so please speak slowly and imagine you're explaining it to a very dopey Golden Retriever... ;-)
Thanks!

You could do it the nerdy mathematical way by finding the radius of the circle r, then using trigonometry to target a point on the line between the two centers—the center of the start null and the centre of the circle—that is r pixels back from the centre of the circle. You do that by finding the vector of the line between the two layers, then finding the angle that line makes, and multiplying the original vector, minus the radius by the cosine and sin of the angle to come up with the vector from the original null to the edge of the circle.
This expression would do that (probably, I haven't tested it):
var r = <the radius of the circle>;
var overallVector = thisComp.layer("circle layer").transform.position - thisComp.layer("start null").transform.position;
var beamAngle = Math.atan2(overallVector[1], overallVector[0]);
thisComp.layer("start null").transform.position + [Math.cos(beamAngle)*(length(overallVector) - r), Math.sin(beamAngle)*(length(overallVector) - r)];

Or you could do it the quick and easy way, by making a circle solid the same size as the target circle, parenting it to the circle so that it is lined up with it, putting it directly above the beam layer, and then turning on alpha inverted track matte for the beam layer. That would make the beam invisible inside the circle. Boom!


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Cutting video using timecodes
I have 2 videos. One from cam1 and other from cam6.
Below is the timecode information of the 2 videos:

fprobe -v error -show_format -show_streams cam1.MP4 | grep 'TAG:timecode'

Output->>>>TAG:timecode=16:31:13:13

fprobe -v error -show_format -show_streams cam6.MP4 | grep 'TAG:timecode'

Output->>>>TAG:timecode=16:31:36:14
As you can see, cam6 video started a bit late (approx 22 seconds late)
I want to PRECISELY cut the cam1 video and make it start EXACTLY from the timecode of cam6 (which is 16:31:36:14)
Basically, both the videos (cam6 and the newly trimmed cam1 video) should start at the EXACT same frame of 16:31:36:14
Whats the best way to do this?

Re-encoding is required for exact cut. IS that ok?

Yes, that is absolutely fine. How to do it?

The notional way is to re-encode the longer video by setting -ss X before the input -i. where X is the difference in time. Note that timecodes are labels, not time measurements, and only the starting timecode is stored in the file. So you'll have to calculate the difference in fractional seconds, keeping in mind the framerate. If you wish to avoid re-encoding the video, unless the desired start point is a keyframe, you can't get the exact cut.

Hi Gyan, thanks for your response. I tried the following:
ffmpeg -ss 23.03 -i cam1.MP4 out.mp4 and a new file (out.mp4) did get generated. As you said, this new file has the starting timecode of the original file (cam1.mp4). But how do i ensure that this newly created video is starting at the exact same frame as my cam6.mp4?

You'll have to check. I assume the two cameras were jammed together.


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4k upscaled Blu-Ray vs 4k upscaling on a TV
I was recently looking to purchase Game Of Thrones Season 1 on 4k Blu-Ray however after doing some research it seems that the first season was actually all shot in 1080p so the 4k blu ray discs are is just upscaled versions of the original content.
I was wondering if letting a TV upscale 1080p content to 4K would be any lesser quality than buying the 4k Blu-Ray discs of the upscaled 1080p content.

It really depends on the methods of upscaling in both cases, but your TV upscales "on the fly" for each moment, which is meant to be fast while compromising on quality. One would imagine a studio releasing a 4k version took their time processing and rendering that 4k upscale to their liking and only then release it.

Agree with the above. I would not put much into upscaling, whether it is done in studio or in a TV. Sometimes it can harm, for example Back to the Future, Part 1 was oversharpened to my taste when released on BD, I prefer a softer DVD version with less aliasing.


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Append part of the audio at the end of another audio
With audio files A and B:
A : |--- Some content ---|--- Extra content --- |
B : |--- Some content ---|
Assume the end of B is where the start of the extra content in A.
I want to append that extra content at the end of B.
Can I achieve this with some command line programs, such as ffmpeg?

Do you know the duration of B? Do the files have the same format/codec properties?

I think I could get the duration of B with some methods. A and B may or maybe in different codecs.

Assuming the duration of B is X (in seconds), you would use
ffmpeg -i A -i B -filter_complex "[0]volume=0:enable='lt(t,X)'[a];[a][1]amix=duration=first:dropout_transition=0,volume=2" out

ffmpeg -f concat -i playlist.txt $OTHER_OPTIONS

In playlist.txt, write this:
file 'B'
file 'A'
inpoint <start_of_extra_content>

Would you like to know more?


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im trying to make a speed art video in premiere pro cc 2018 but after speeding up the footage it keeps being laggy
im trying to make a speed art video in premiere pro cc 2018
the original video is almost 2 hours long and i speed it up by 6000% to get it down to the time i want the video to be
but after speeding it up it only shows like every 10 frame or something which makes it really laggy to look at
it lags in premiere but it also still lags after rendering/exporting it
ive tried alot of different settings before and while exporting
but i cant seem to find anything onlne that solves my prolem tried alot of what i could find online but either it just get exportet as an unplayable file or it get exported really laggy

Did you try to check the exported video on a different PC/operative system?


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Is there a way to mesh-warp downwards?
What I want to do is, to animate a pressing of a perfume spray top. But since mesh warp only works in X and Y axes, I cannot do it in the traditional way.
So, is there a way to do that?

You need to explain what you're asking a bit better if you want good answers. A screenshot would help.

I want to simulate something like a button press; in this case, the perfume spray's button (I separated the button as a png file). I tried to do it with the mesh warp tool. But since the mesh warp allows us only to warp an object only on X and Y axes, I can't animate the squeeze with that tool. So, is there a way to do that task?

I can't understand why you can't just move the button down by animating its Y position.

No I don't want a 'button going down' movement. What I need is, a squeezing on the middle of the can's top.

You're still not explaining yourself very well. Why can't you just move the pins in the mesh downward?

Are you working in 2D or 3D?


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Color shift FFmpeg raw RGBA images to YUV format
I have a list of raw bitmap in rgba format, captured with an openGL frameBuffer.
I want to export them in a video, currently i am using the following command:
ffmpeg -f rawvideo -r 30 -pix_fmt rgba -s 1920x1018 -i - -threads 0 -y -c:v libx264 -pix_fmt yuv420p -b:v 8000K -vf vflip,drawbox=10:20:200:60:red@1:t=fill result.mp4

When I open the output video in different viewers (vlc, windows media player), the resulting color are shifted and appears more green.
For example I draw a solid red rectangle (255, 0, 0) got translated to (255, 24, 0)
I have played with pix_fmt and the format filter with no result.

got translated to --> measured, how?

screen capture and paint's color Picker, but it's visible in the video. The player might be the problem i try 2 of them, if you know a way to keep the original pixel value just for testing purposes

In the end I add to use the following options and tell ffmpeg wich colorSpace i am using and how to decode it to display on screen.
ffmpeg -f rawvideo -r 30 -pix_fmt rgba -s 1920x1017 -i - -threads 0 -y -c:v libopenh264 -pix_fmt yuv444p -b:v 8000K -vf vflip,scale=out_color_matrix=bt709 -color_primaries bt709 -color_trc bt709 -colorspace bt709 output.mp4


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Premiere Pro export black screen on mobile, just audio
I exported a 9:16 video (vertical, for Instagram stories) from Premiere Pro 2018, encoded with H.264 and AAC audio, VBR 2 pass.
However, the video shows nothing but black screen on both my Samsung Note9 and iPhone 6, if I play it back in default players. If I use VLC on my Note9, it plays back just fine.
What is the issue of this and how can I fix it?
Many thanks!

Try using 4:2:0, which is the common subdivision in encoding for your use. If that doesn't work, I'm certain that samsung provided a list of codecs which work with their phone.


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How to configure OBS studio to have only one recording window?
Since I reinstalled OBS my display has changed from having one scene recording window to having 2.
I have tried modifying every possible setting I thought off but I don't manage to get rid of the second window.
The problem is this window seems to define the screen capture area and I can't modify it. This seems only possible in the left scene frame, but doesn't have any effect on the recording.
Any clues?

When you open up the properties of the screen-capture, you should be able to select the screen you're trying to record. If else, please post a screenshot of it.


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producing high quality VR for youtube
I am trying to generate a high quality VR video to upload to youtube and watch with an Oculus Go. The issue I have is that no matter the quality of the upload the output on youtube seems very compressed and unwatchable. This is a link to the video.
Workflow to get this point is:

Export video from RiScan Pro as a .avi (proprietary software for registering laser scan data). I did this at the suggested resolution for youtube of 7168 x 3584 and 24 fps.
Using ffmpeg stitch .avi's together to create a .mp4. I did this in a way as not to lose quality (file size >10 gb). .mp4 is required in the next step.
Inject spatial metadata using the 360 Video Metadata app so as to create 360 video.
Upload to youtube

Other VR videos available on youtube are incredible quality and I can watch them on my Go e.g. I don't think it's a bandwidth issue.


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Crazy blue video issues/artifacts on export
I am a super Premiere rookie, but I have never seen anything like this.

Here are my export settings.

The source footage looks nothing like this. I don't even know where to start looking at what could be causing this.

Hi Josh! When you scroll through the timeline, the artifacts do not appear, correct? Only on export?
Perhaps a screengrab of your timeline would help us in our analysis of your issue.

Make sure your export settings are really what your camera films. Are you filming interlaced? Your settings suggest so, since it's rendering the upper field first, however, it could be that your camera films progressive. You can check whether your system records 25i or 25p for example. Also, is the pixel aspect ratio (par) really anamorphic (1,33)? Meaning, did you use a very stretching lense which costs about 10k dollars? If not, set the pixel aspect ratio to square (1).


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Image Sequence input missing frames FFMPEG
Is it possible for ffmpeg to parse an input image sequence with missing frames? I was hoping to interpolate them or create a variable framerate(or a CCFR duplicate frame) video while having the numbering of the files match the frame in the video they correspond to.
I haven't been able to find an answer to this.
With my attempts, when it reaches a missing frame, the file ends and encode finishes.
Is it also possible to use a regex to match the various naming and padding of the images in the sequence? I haven't been able to without renaming the files first.
These are a few of the example file names in one sequence
00000XTR_00000_BURST20190321113858.jpg
00026IMG_00026_BURST20190321113858_COVER.jpg
00143IMG_00143_BURST20190321113858.jpg
00280XTR_00280_BURST20190321113858.jpg

I'm on windows but using wildcard hasn't worked in the filename. I've tried something like this with no luck
%05IMG_%05_BURST20190321113858*.jpg

Use the concat demuxer and add duration directives.


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What happens when you use a specific CRF value on a already encoded x264 video?
If there is a h.264 video, and I use -crf 17 I sometimes I get a lower bitrate, but the weird thing is - most of the time get a higher ones.
I am trying to get this setting because I think some videos of mine are having a higher then needed bitrate and I have not figured a way (if it is possible at all) to determine what is the most appropriate way to do this and maybe playing with CRF will not help me at all, but I wondered what actually happens when you don't encode with libx264 for example, but actually use CRF values on a x264 file?

The bitrate depends on t he complexity of the video. For two videos with the same resolution and framerate, using the same CRF will give a higher bitrate for the video with more complexity.

But what actually happens when I give crf -17 and the new video is larger than the older one?

When decoding a file, the decoder attempts to recreate the source material with the information provided in the file. But it can not be a 100 percent accurate representation, so the decoder creates new pixels that are estimates of what was included in the source
When you encode for the second time with CRF 17, the encoder does not know these new pixels were generated by the decoder and were not necessarily faithful to the original material. But the encoder still does its job, and attempts to encode these new values accurately.
So it spends bits encoding pixels that were thrown away and recreated by the first encode, making the file larger.

The semantics of your answer seem weird. It suggests that the encoder stores a perfect representation of the source, but the decoder attempts and fails to restore a duplicate of that representation. Instead, the information-limiting happens at the encoding stage, based on encoder design and rate-control constraints. Decoders for modern codecs are expected to produce bitexact output (rounding errors may be still possible due to architecture limitations as well as skipping deblocking..etc).

I understand your logic, but in this context I am referring to the encoder output as the decoder. I simplified because I assumed the poster is not aware of the nuances and was attempting to be helpful more that accurate. The decoder output is bit exact across implementations. But my post is basically correct when round tripping between spacial and temporal domains, and after quantization and loop filters, new visual information is implied that was not part of the reference.


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Recompressing 1080p h264 collection to HEVC - Target Bitrate For Minimal Loss
My understanding is that HEVC (aka h265) can provide roughly the same video quality as h264 in roughly half the space, for 1080p+ footage.  I have a large collection that I would like to re-encode to reduce my storage needs, and am trying to determine the "best" compression options to use.  I understand that "best" is very subjective, but generally speaking, my goal is just to save as much space as I can while (ideally) not reducing visual quality by a noticeable / perceptible amount.
I'll be using Adobe Media Encoder (w /a GPU).  My collection is recorded at 1080p, between 35 & 45MBps.
For instance: if HEVC can be expected to yield comparable quality in half the space, does that mean I could compress a 40MBps h264 video to 20Mbps h265 (50% bitrate), and expect visually similar results?  And therefore if I wanted to really minimize the risk of noticeable degradation, I could set the encoder to, say, VBR target = 70% of the source bitrate (28MBps), with a max a bit above that?
Are there other things I should consider when setting up the encoder? Other relevant options: Quality (from highest/slowest to lowest/fastest), Use Maximum Render Quality (checkbox), Render at Maximum Depth (checkbox).
Any guidance would be appreciated :)

I've transcoded some of my AVC (h.264) 1080p movies to HEVC (h.265) with 2 pass encoding (using my GPU) and target bitrate set to 50% of original. The other streams (like audio and subtitles) were only copied into the new file.
Mostly I'm using Potplayer to play these files with Madshi renderer, and I can't see any difference on a 55" 4k HDR TV with naked eye. The only thing, that I've noticed at some movies, if there are dark scenes with big black backgrounds, the transition from one shade of black (dark grey) to another is built from much more bigger blocks in HEVC, like in AVC version. I say again, these blocks are visible both on AVC and HEVC but only in some of the movies and in HEVC they are a little bit more noticeable.
But I'm only a home user, I'm not making professional videos and the 15GB video file vs the 30GB worth it to me.

When you are perceptually coding a signal (eg Wave to mp3), the codec removes 80% of the original signal data. This is possible because the codec removes material that humans cannot easily perceive is missing. This is a one way process - you cannot get all of the original data back.
If you convert from one codec to another (eg mp3 to AAC) this is called transcoding. The software would have to decode the MP3 back to a Wave and then perform the perceptual encoding again for the rules of the AAC codec. This would not sound very good.

I'm not really sure how to interpret that as it pertains to my question - do you mean that regardless of what options I choose, transcoding from h264 to h265 will always yield poor results...? (i.e. "this would not sound very good" -> "it would not look very good")...?

Yes. I'm just talking about it in principle. Anything that uses a perceptual (or lossy) codec (video or audio) will be severely degraded by converting it to another perceptual codec format.

By that logic, wouldn't essentially every edited video (i.e. on YouTube etc) look "severely degraded", since it's always re-encoded after editing?  I've read many places (including here on SO) where people discuss recompressing h264 to h265 with minimal or no perceptual loss (in mathematical terms, lots of loss of course - but in terms of what the viewer can actually perceive, virtually none).  I'm a bit surprised to hear the perspective that effectively it would be impossible to use h265 without a "SEVERELY degraded" result...


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Is there any DVR which can automatically summarize the captured videos? If yes, what are the technologies they use?
I am doing a research related to video summarization. I found many research papers using various methods for video summarization. What I want to know is that is there any commercial applications with video summarization functionality. (DVR/NVR which has the ability to summarize captured videos)If yes what are the methods they use?
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