text:
Canon EOS T5 video noisy
When I film at least at 3200 ISO I have so much noise in my video that the video is unwatchable. I tried the denoiser in Adobe Premiere pro but it removes all the details and it doesn't remove colour noise, is there any free plugin to remove colour noise?

Add more light.

My phose is less noisy in the same situation


text:
Masking out Text in Premiere Pro 2019
I have end credits rolling over an image in Premiere Pro 19.
For a few seconds, I want a part of the image (the dog) to appear over the text. Therefore, I thought that I could mask the dog his head in the text frame, and then invert the mask. That way, only the dog head appears over the text. This worked at first. However, then I tried to apply the same formula again, somewhere earlier in the video by creating a second mask over the text, and then the effect failed. I do not understand why. I tried restarting Premiere, but it did not work.
I added a youtube video so that my settings are visible:

Thanks for all the help, in advance.

I agree with Tomh.  Also, based on your sample, I would highly recommend you put some shadow around your text.  You have white text over a rapidly changing background video that often has a lot of very bright areas.  To keep the text readable, at a minimum, you want to put a shadow around your text (adjust opacity, width, etc. to taste).  I'd also put a thin black border around the text too; 1-3 pixel to start, but adjust to taste.  Finally, you might consider slighlty darkening the video layer (behind the text).

I would duplicate a copy of your background (doggy) layer.  Put it on top of your text layer, then animate the mask on your foreground layer. So in total you have three layers:
V3 - foreground dog (masked)

V2 - text credits

V1 - background dog (and everything else)

(I reckon masking like this is easier in after effects but can be done in Premiere)

source: Stack Exchange

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

sort: votes


text:
Working on multi-camera edits using proxy files in Premiere
I want to be able to make multi-camera edits using low res proxy files, then be able to recreate those edits using HD footage. I'm using CC 2019. Here's my workflow:

Import HD files into Premiere, and create a multi-camera source
sequence
Select the clips, right click them and create proxies

When I open the Multi-camera Source Sequence in Timeline, I can toggle the proxy files by clicking the Toggle Proxies button.
When I create a Sequence from my Multi-camera Source Sequence, and open it in the timeline, I am no longer able to Toggle Proxies.
Is this the expected behaviour, or am I doing something wrong?
I have found this workaround, but it involves duplicating the multi-camera sequence, and swapping out the footage for the low-res footage. I'd prefer Premiere to manage toggling the proxies itself if possible.

If you globally turn on/off proxies in the preferences does that work?

Because premiere sometimes drops resolution while playing, it can be hard to see whether a proxy is enabled or not. You can test it by rendering a proxy with a watermark and seeing if it goes away when you turn off proxies.

No it didn't work for me.

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


text:
Batch replace green-screen?
I have a video which uses a green screen in it. I have 1000 images which I want to be put onto the green screen, and each exported as unique videos. So, 1 image per video. 1000 images = 1000 unique videos (all from the same base video).
Obviously, doing this by hand is impractical. Assuming the green screen is perfectly green so there is no manual work involved, what is the best software / method to achieve this?

Premiere doesn’t support automation, but you can “paste attributes” with any effect, including keyers. After effects supports scripting/ automation. So does davinci resolve/ fusion.

FFMPEG has colorkey and chromakey options, it does something likes
Overlay a greenscreen-video on top of a static background image

Using a shell script to loop through your thousand images on the ffmpeg command would be helpful.

If I understood correctly and you want to export each frame as a separate video, this would actually be quite easy. Simply key your footage using after effects or any compositing program and export the footage as an image sequence. If you want to change the codec or container of the files, you can use ffmpeg to convert each file (for example .png) into a video container (for example .mp4).


text:
Make Sequence Background Transparent Instead Of Black
I am working with multi camera input.  I have created sequences for each of the cameras because each video needed different rotation, positions and zooms.
Now, I have cut the video in each sequence and toggled the video track output off except for the cuts that I want to display for each camera.  So all alternate cut sequences are the same length as the main sequence with video output toggled off except for the portions I want to show.
So, my final sequence has the main camera angle as Video track 1.  Then I added Video track 2 and 3 as alternate angles.  However, the black background from video track 3 is displayed instead of the main angle from track Video 1.
How do I set the sequence for video track 2 and 3 to be transparent so that video track 1 shows when 2 and 3 are toggled off?

Are you rendering the sequences or just dragging them into the new time line?

Just dragging into the timeline.  Temporarily worked around the issue by cutting the sequences at the times where they should be visible and then unchecking enabled.  Would like to avoid this for extra step for easier editing when the visible times need to be tweaked


text:
MPD Download Problem
im triying download this: https://s3-dub-2.cf.dash.row.aiv-cdn.net/dm/2$0BUF7K2VT3IU0_lgY5I8MtbEnr0~/4a41/40a4/cba9/491e-8631-097e38e63dc5/b61f4b90-54ed-4b6e-8dc9-816b4cc58eab_corrected.mpd?encoding=hex&amznDtid=AOAGZA014O5RE If i use that as adress in a chrome windows says This XML file does not appear to have any style information associated with it. The document tree is shown below. and a lot of info about quality from video and audio.
If i try ffmpg give me error.

What exactly is your question? What do you try to achieve?

donwload from tht link using ffmpg?

If you just want to download that manifest, you can also use curl https://s3-dub-2.cf.dash.row.aiv-cdn.net/dm/2$0BUF7K2VT3IU0_lgY5I8MtbEnr0~/4a41/40a4/cba9/491e-8631-097e38e63dc5/b61f4b90-54ed-4b6e-8dc9-816b4cc58eab_corrected.mpd?encoding=hex&amznDtid=AOAGZA014O5RE.
Not sure this is what you want to do, though. Hence my question.


text:
FFmpeg raspberry pi OMX hardware encoder with inline_headers enabled = Increasing latency over the time
I managed to enable inline header on the OMX H.264 hardware encoder. inline header(SPS/PPS) are mandatory to play an already launched stream.
https://github.com/Serveurperso/FFmpeg/commit/6e410823e63103342e8fc3407ff6698808d4d1ef
Yes but there is a problem : the latency grow over the time. There is a strange time calculation problem inside the muxer? I get a lot of traces "application provided invalid, non monotonically increasing dts to muxer in stream X/0" and the ffmpeg process always freeze at 3335/0 (with no trace).
Without inline header : no latency (about 0.2s on raspberry pi 4 / 720x576 25FPS) No "... increasing dts to muxer" error. disadvantage: I can't resume the already launched stream.
With software x264 encoder : no latency (about 0.2s on raspberry pi 4 / 720x576 25FPS) No "... increasing dts to muxer" error. disadvantage: It consume a lot of CPU power...
How to fix the timestamp(?) calculation inside ffmpeg muxer code to take into account the addition of SPS / PPS NALUs ?

Without the patch, try inserting bitstream filters extract_extradata and dump_extradata for the video stream.

MY WORKING CMDLINE IS (I just need to add global header flag and the dump_extra bit stream filter !!!! My patch is useless:) : ffmpeg -f v4l2 -i /dev/video0 -vf hqdn3d=0:0:50:50 -c:v h264_omx -profile:v baseline -b:v 1500000 -flags:v +global_header -bsf:v dump_extra -f rawvideo tcp://127.0.0.1:8003

Gyan is right :
I just need to add +global header flag and only the "dump_extra" bit stream filter
My patch become useless, ffmpeg can add SPS/PPS itself inside the stream.
My old cmdline is - missing inline SPS/PPS for infinite streaming - :
ffmpeg -f v4l2 -i /dev/video0 -vf hqdn3d=0:0:50:50 -c:v h264_omx -profile:v baseline -b:v 1500000 -f rawvideo tcp://127.0.0.1:8003
I just need to add "-flags:v +global_header -bsf:v dump_extra" the cmdline become :
ffmpeg -f v4l2 -i /dev/video0 -vf hqdn3d=0:0:50:50 -c:v h264_omx -profile:v baseline -b:v 1500000 -flags:v +global_header -bsf:v dump_extra -f rawvideo tcp://127.0.0.1:8003
(live result here : https://www.vigibot.com/ click on the "Astro" public robot)


text:
Adjusting the vertical alignment line position in Premiere's Captions
I am creating burnt-in (open captions) using Premiere CC 2019.
When I generate captions, they look like this:

I would like the line alignment to be vertically centred within the black block.  Is this possible?

I have adjusted various settings in the Captions Import dialogue, but can't seem to make this work.

You could try and do this in After Effects, which would give you additional freedom when it comes to designing your captions...

Hi - I have a workflow for doing this in AE, but given that Premiere now supports captions - this is the only issue holding me back from using it.

I've found a workaround in Premiere, outlined below:
Make a copy of your .srt file, as you will need to import two separate files for this to work.
For example sub1.srt and sub2.srt
Import both .srt files into Premiere.
Place them one above the other on your timeline.
Make sure they start at the same timecode.
Set the text size and alignment as usual. Make sure you do this to all the captions by right-click on on a caption and clicking “Select all”.
Now modify the lower track, so that it shows a black background with black text only:
Double click the subtitle track to select the correct captions in the Captions Tab (they all look the same, so this is easy to mess up).
Right click one of your captions and choose “Select all”.
Make all the backgrounds and all the text black
Now modify the upper subtitle track so it shows the text only with no background:
Double click the subtitle track to select the correct captions in the Captions Tab (they all look the same, so this is easy to mess up).
Right click one of your captions and choose “Select all”.
Make all the backgrounds have an Opacity of 0%.
Now select your lower track again, and reposition it in the Effects tab until the alignment looks correct.


text:
How to log duplicated frames using FFmpeg?
I'm trying to solve an issue.
I've recorder using an Atomos the Ultra HD 60p HDMI output from Chromecast with some Google Stadia Games.
Now I have some proRes file @60 fps, but the games are not of course at 60p. There are some frame drops for connection, and some frame variance according to the scene rendered.
I need to put on a chart the "real fps", so for every second I have to discard dubbed frames, remove from the "60 frame per seconds" the "dropped frames for second" and log the result in a time chart.
I know that using mpdecimate I can drop frames that do not differ greatly from the previous frame in order to reduce frame rate, and could be useful for me.
Do you know if there is something similar or a better way to do this?

If you only need to identify the dupes, see freezedetect filter.

@Gyan I want the FPS

There's no concept of a 'real' FPS. You identify the duplicated frames with their timings, and then calculate the number of non-dupes in each time interval of interest.


text:
Removing an overlay using green screen footage?
Ive got the composition, available publically:

And a green screen of the overlay used given from the Sea of Thieves 'Creator Crew' program.

How can I use this to remove the overlay from the fireplace, and fill in from other frames something passable.

What you are looking for is called "Chroma Keying".
It works by sampling a color (in either 2D or 3D space, but you don't have to worry about that) and it, simply put, exchanges that color with the alpha channel - thus making the hue transparent. If you're working with Streamlabs OBS, regular OBS, After Effects or something similar, Chroma Keying is built into these programs. For a good result and knowledge about screen mattes, despill and other things to keep in mind while keying, check out the tutorials by andrew kramer.

I wanted to do the exact inverse of Chroma Keying. Remove footage that has been chroma-keyed, and fill it with anything, previous frame content, content aware fill, solid color.
I have the original overlay with green, and the final product.

Oh I see. In this case, you can duplicate the footage so you have two instances of it. One layer, you'll want to key, then in track mattes, you can set the un-keyed layer to "inverse alpha mask" from your keyed layer. This will effectively copy the inverse alpha channel from your keyed layer onto the unkeyed layer. Now, you can move anything below the "hole" you just created - content aware fill, solid color, etc.


text:
Capturing audio from a different source in Premiere?
I have my 4 Shure mics connected to my Clarett which is registering as an audio device on my mac.
My video source will be my video camera connected to my computer.
I don't want to take audio from the video camera, as it won't sound professional for my podcast. I want to capture video from my Cannon Video camera, and capture audio from my Clarett.
Also, is iit possible to extract high quality audio from the project? Because I want to upload mp3 files to itunes and spotify for the audio-only version of the podcast. That's a side note that I can figure out.
I just could never figure out how to capture audio, i keep getting the error "lost connection to device."

OBS looks like it's more for live streaming. I am trying to record.

I would recommend Audacity or OBS to record the sound from the microphone, then put it in the Premiere and synchronize it. OBS is not only for streaming, but you can use it to record a separate soundtrack from a microphone while having a camera connected.  Then in Premiere Pro you mute the soundtrack from the camera and leave the soundtrack from the microphone.

I think this can be achieved directly in Premiere, assuming the devices can be seen individually by his operating system.

Assuming you're on a Mac: if the mics from your Clarett device appear as individual inputs in MacOS, you should be able to select them as input devices in Premiere.
You need to select the correct audio hardware and video capture devices in Premiere's setup pages
Then do a live capture as described here.


text:
Syncing Audio and Video
I have am doing a video recording podcast.
I am recording the audio with Audacity with my 4 Shure mics hooked up into my Clarett 4pre USB.
I am recording the video with OBS Studio a Cannon Vixia GF 40.
I plan on editing the audio and video in Premiere Pro. But I am worried about having it synced up and staying synced.  Any ideas?
What hz should I use for audio?

I do not fully understand if you intend to transmit live or not. Because you are using OBS which sounds like you want to go live, but at the same time you say you want to use Premiere to edit, which sounds like you want to edit and then publish.
If you want to record, edit and then publish, probably the best option is letting the Vixia camera record live audio and use it as a reference for Premiere to detect some of it and automatically sync with the new audio track.
If you are recording live, OBS has one feature to synk the delayed audio or video. Search "OBS Audio delay"

Regarding the question of the frequency... it depends on several factors. The main factor is output format+platform.
For example, Youtube recommends 44.1 kHz 24 bits for music videos. But accept 48 and 96 kHz.
There is some debate if 96kHz is even perceptible for humans or not.

I am not going to transmit live. I am going to use OBS so I can easily switch between  video sources (camera most of the time, and screen record partial). There will be occasions in the podcast where I have to pull up a screen whenever the host ask me to pull up sources. OBS seems like the simple way to do this.
But I am not tied to OBS, but I prefer not to purchase anymore equipment. Also, it is possible to mute the audio from the Vixia camera so the video?
The reason why I was asking for the rate is because I heard if it isn't at the proper bitrate, it can drift in and out of sync.

Recording hz doesn't really matter in this instance, but it's best if your sources match, so make sure they're both set to either 44.1 or 48. There is a built-in automated audio syncing option in Premiere, so it's very easy to sync when editing.
Here's your whole workflow:

Make sure you're recording audio on both interfaces, so both Audacity and your camera's built-in mic through OBS.
Drag the OBS video and audio to the Premiere timeline.
Drag the Audacity audio below the OBS audio on audio track 2.
Select all of the imported audio in the timeline.
Right-click and select Synchronize
Select the Audio radio button and select 1 in the Track Channel fly-out menu. This will sync your audio.
Either mute or delete the audio from the camera that you don't want and start editing.

One note, if you pause or take a break during your recording, do NOT pause Audacity. Just stop the recording and export a separate file for each stop/start. If you pause, additional audio will just be appended to the first part of your Audacity recording out of sync and you won't be able to sync in Premiere with this method. Additionally, Premiere only lets you sync one item on each track at a time, so if you end up with several recordings from audacity, you'll need to spread them across track 2, track 3 etc. for syncing. You can sync any number of tracks with this method.

Press once the record button to start recording. Clap 3 to 5 times.
Import both video and audio into Premiere.
Align the peaks in the audio of when you were clapping.
Once you've done that, mute the audio that comes with video, and only enable audio that you've recorded separately.

I've also paid $200 or so for pluraleyes.
The way you use this is that you drag and drop all your files into it's interface.
Once you “synchronize”, press the export timeline button and export the XML file.   This file is essentially going to become your Premiere pro Project.
Voila. Done deal! :)


text:
Premiere Pro imports audio/video unlinked
I import clips into the project and when I drag them into the timeline, the clips have video & audio unlinked, which is very annoying for editing.

Toggle on Linked Selection to have Premiere Pro respect the linked status of clips:

copied from community.adobe.com


text:
How can I crop an undistorted region from a wide angle gopro capture?
When I ski with my gopro, I usually have to use the wide FOV because it's too difficult to carefully frame my shot while I'm skiing since I have to, you know, ski!  I often am chasing some of my friends who may be right in front of me, or off to the side.  The resulting footage is a little underwhelming since the subject is so small on-screeen.
Since I can shoot this wide fov footage in 4k and only really need 1080p footage, I would like to have a moving crop at 1080p centered around the subject, preferably undistorting and stabilizing the image at the same time.  Is there any video editing software that would allow me to do this?

Pretty much any modern NLE will allow you to do this, with varying levels of difficulty. For example, in Davinci Resolve you could do most of this in the free version, except for removing the fisheye effect which is I believe only available in the Studio version.

I will go through the process with Movavi Video Editor Plus.
Here is the quick guide on how to crop your video:

Launch the app.
Import your video clip.
Select your clip.
Press "Crop" button (see the screenshot).
Adjust the frame.
Here you go, enjoy.

After Effects would be the go-to choice for doing this. You can use the "cc_lens" effect that comes with AE to undistort footage - if you want to be very precise though, you can undistort using a fixed focal length, but that is only possible with third party plugins or more advanced compositing programs such as nuke or pfTrack (as far as I know). Scaling in on the footage shouldn't be a big problem when you first undistort the image. However, you might have some issues with chromatic abberation, especially when framing a subject close to the edge of the screen. Here's the pipeline I'd take for polishing such footage:

Undistort the footage using cc_lens or something similar.
Stabilizing the footage by either camera-tracking the shot and transforming the Footage or by using the warp-stabilizer.
Zooming in on the area you want to focus on.
Reducing chromatic abberation, using methods like this one.

The last step might be color correction, grading and adding some artificial camera shake, since you have probably stabilized the footage already. Quick, sudden shakes usually looks unpleasant, but slow moving shakes can look more organic and visually pleasing.
Hope this was helpful, have a good one :)


text:
x264 Downsides of a high CRF (22) intermediary codec between conversions instead of lossless
I have a huge collection of video files that are in the range of CRF 16-20 taking up TB's of space. The only need I have for these originals is that I have to encode them from time to time but the CRF of these final encodes is very low (CRF 26-28).
I understand that a lossy to lossy conversion ALWAYS results in some quality loss but my question is what if the intermediate file is almost visually lossless compared to the final output.
So to sum up, what quality difference should I expect from the following routes?
CRF 18 (original) -----> CRF 28 (final)
CRF 18 (original) -----> CRF 22 (long-term storage) -----> Lossy  CRF 28 (final)

We could do test runs, show comparison screenshots, VMAF scores, bitrate to quality charts, etc, but there is no other way to answer that doesn't essentially say "it will look worse".

I would love to see quality charts like that! It's something I've been interested before, but research never turned up anything. Notably, there would presumably be a threshold where the source file is large enough that it doesn't really look worse, right? That's why ProRes is a common intermediate format, even though it's still lossy.


text:
Why I can't check the bit rate on some videos?
I've downloaded a video from YouTube, well I've downloaded the video stream and the audio stream of a YouTube video separately. Then with this ffmpeg command ffmpeg -protocol_whitelist "file,http,https,tcp,tls" -i video.mp4 -i audio.webm -acodec copy -vcodec copy output.mkv I merged the two streams together.
Using the ffprobe -i audio.webm -show_streams -hide_banner command it gives me the bitrate of the audio file but not of the stream (in this case it's not crucial since the file is only one stream) :
Duration: 01:35:26.06, start: -0.007000, bitrate: 119 kb/s
  Stream #0:0(eng): Audio: opus, 48000 Hz, stereo, fltp (default)

But in the detailed stream informations I get after thanks to the parameter -show-streams it doesn't give me the bit rate of the stream : bit_rate=N/A
Same command with the video file :
Duration: 01:35:26.04, start: 0.000000, bitrate: 213 kb/s
   Stream #0:0(und): Video: av1 (Main) (av01 / 0x31307661), yuv420p(tv), 640x284, 0 kb/s, 24 fps, 24 tbr, 12288 tbn, 12288 tbc (default)

And again in the detailed stream informations it doesn't give me 213 for the bitrate of the stream but 21 (I don't know why) : bit_rate=21.
However when I try the same command with the mkv file that contains the audio and video streams I get that :
Duration: 01:35:26.06, start: -0.007000, bitrate: 331 kb/s
  Stream #0:0: Video: av1 (Main), yuv420p(tv), 640x284, 24 fps, 24 tbr, 1k tbn, 1k tbc (default)
  Stream #0:1(eng): Audio: opus, 48000 Hz, stereo, fltp (default)

So I get an overall bit rate but not the bitrate of each stream which is more annoying. In the detailed stream informations for both streams I have : bit_rate=N/A.
Using other tools, mediainfo for example.
On the audio file (mediainfo --fullscan Ofitsery.webm) I have an overall bitrate for the file : Overall bit rate : 120 kb/s but no bitrate indicated for the audio stream.
For the video file (mediainfo --fullscan Ofitsery.mp4) I have an overall bitrate : Overall bit rate : 213 kb/s and a bitrate for the video stream which is not exactly the same (on a file with only one stream) : Bit rate : 211 kb/s.
But on my mkv file that contains the audio and the video stream I have an overall bitrate : Overall bit rate : 332 kb/s but no bitrate neither for the video stream nor the audio stream.
It annoys me because I'd like to check if I have bitrate loss during the file merging and I can't check the bit rate of the streams separately.
Beside why are there 1 or 2 kb/s differences sometimes ?

For mkv files, you can use mkvpropedit —add-track-statistics-tags to add stream level data.

Bitrate isn't calculated from stream size, but the number is saved in file as special field/metadata. Now, the problem with ffmpeg (or rather libmatroska) and Matroska (MKV) muxer is it doesn't save such data.
If you are able, use another container - for me switching to MP4 helped. While it's in Handbrake's GitHub, there's discussion about bitrate in MKV here: https://github.com/HandBrake/HandBrake/issues/1609
PS: As I see you are into open source, I bet MP4 is not a good way, but it's the only I know. I'll be happy to find out how to add such metadata to MKV.


text:
Variable bitrate for AAC - how to reach it?
I tried encoding audio stream into AAC with a variable bitrate mode — I followed the advice from FFmpeg VBR Settings and changed my original option -b:a 128k to -q:a 1.3 in this original command
ffmpeg -channel_layout stereo -i sc2.avs -b:a 128k -ar 24000 -ac 2 sc2.mp4

But I still obtained a constant audio bitrate.
Output from MediaInfo:

Audio
ID                                       : 2
Format                                   : AAC LC
Format/Info                              : Advanced Audio Codec Low Complexity
Codec ID                                 : mp4a-40-2
Duration                                 : 1 min 26 s
Duration_LastFrame                       : -29 ms
Bit rate mode                            : Constant
Bit rate                                 : 119 kb/s
Channel(s)                               : 2 channels
Channel layout                           : L R
Sampling rate                            : 24.0 kHz
Frame rate                               : 23.438 FPS (1024 SPF)
Compression mode                         : Lossy
Stream size                              : 1.23 MiB (8%)
Default                                  : Yes
Alternate group                          : 1

The Any Video Converter (the old version 3.5.8), which internally uses FFmpeg, convert the same input into VBR mode:

Audio
ID                                       : 2
Format                                   : AAC LC
Format/Info                              : Advanced Audio Codec Low Complexity
Codec ID                                 : mp4a-40-2
Duration                                 : 1 min 26 s
Bit rate mode                            : Variable
Bit rate                                 : 75.3 kb/s
Maximum bit rate                         : 142 kb/s
Channel(s)                               : 2 channels
Channel layout                           : L R
Sampling rate                            : 24.0 kHz
Frame rate                               : 23.438 FPS (1024 SPF)
Compression mode                         : Lossy
Stream size                              : 778 KiB (9%)
Language                                 : English
Encoded date                             : UTC 2019-12-19 13:30:13
Tagged date                              : UTC 2019-12-19 13:30:13

How to reach VBR audio output?
(I need it because of Dissolve() function in AviSynth source file produces horrible sound for CBR, whereas it's nice for Any Video Converter's VBR audio output.)

Don't you need to specify which audio encoder to use? ie, ffmpeg -channel_layout stereo -i sc2.avs -c:a aac -q:a 1.3 -ar 24000 -ac 2 sc2.mp4 If I do it I get variable bit rate audio

According to the wiki, you are likely to get worse results with the default AAC encoder when using VBR. See: https://trac.ffmpeg.org/wiki/Encode/AAC
One suggestion would be to use libfdk_aac. The other would be to demux the audio, re-encode it using a different encoder, and then remux that file back in to the video using ffmpeg.


text:
Use wirecast and obs at the same time
I am new to video production and I would like to ask you if is it possible to use OBS and Wirecast at the same time. Is there a possibility of conflict or something? In my case, I have a Blackmagic Intensity Pro 4K installed and I want to use Wirecast for recording and OBS for streaming (one source/video camera), but although I see my source video at Wirecast, I cant see it at OBS.
Thanks in advance.
p.s. I know both programs support streaming and recording but I need to use both at the same time.


text:
How was analog video converted to an electrical signal?
Before the invention of the CCD, how were analog video images captured? Specifically, what process occurred between the optics of the camera, and the resulting analog electrical signal (not necessarily ready to transmit)?

Before understanding the answer to this question, you need to understand analog video displays, usually called Cathode Ray Tube Televisions (CRT TVs), often shortened to just "CRTs" in casual speech. There are plenty of answers here on this site, and a more technical one on the CRT Wikipedia Page.
Now, before answering the question, there were a multitude of technological advances that led to the collection of 'standard' Video Camera Tubes, each with its own pros and cons, and advancements throughout the years. In this answer, I will assume a black and white system, will ignore the optics, gloss over the physics of electron beams and photo-cathodes (you did read and understand the CRT wiki page... didn't you? :D ),  and I will ignore the electronics and technology involved in the camera, as well as those in the encoding, transmission, reception, decoding, etc. as those items each are far beyond the scope of this answer. (Many have their own dedicated Stack Exchange!!) For a very simple overview, see here.
Here is the short answer:
Analog cameras were the reverse of CRT displays, and the incoming photons from the optics were converted to an output signal in broadly one of two ways.

Incoming photons hit a photo-cathode plate of some type, which emitted electrons. These electrons may or may not have hit a secondary plate with the ability to amplify the electron (not photon) image. This image was then scanned past an aperture (note that the entire image is scanned, not just one beam). Behind this aperture the signal was detected and converted to an electronic signal via a dissector tube (again, many technologies).

The incoming photon image hits another type of photo-cathode plate. In this second technology, an electron beam of constant strength is then shot towards the rear of this plate (scanned and focused in the way a display CRT is), and the plate in the middle creates a voltage relative to the strength of the photons on the front. This voltage is the output signal.
P.S. This answer is in response to an unanswered question asked here by J. Doe


text:
FFmpeg concat results in DTS out of order
Following https://stackoverflow.com/questions/31691943/ffmpeg-concat-poduces-dts-out-of-order-errors
I tried to concat 4 clips made by geforce experience in-game features, it resulted in DTS out of order sync issues, and even after tweaking (adding -video_track_timescale 90000), the desync still occurs.
Script
@echo off
Title Converting to mpegts
ffmpeg -i "1.mp4" -c copy -video_track_timescale 90000 -bsf:v h264_mp4toannexb -f mpegts intermediate1.ts
ffmpeg -i "2.mp4" -c copy -video_track_timescale 90000 -bsf:v h264_mp4toannexb -f mpegts intermediate2.ts
ffmpeg -i "3.mp4" -c copy -video_track_timescale 90000 -bsf:v h264_mp4toannexb -f mpegts intermediate3.ts
ffmpeg -i "4.mp4" -c copy -video_track_timescale 90000 -bsf:v h264_mp4toannexb -f mpegts intermediate4.ts
ffmpeg -i "5.mp4" -c copy -video_track_timescale 90000 -bsf:v h264_mp4toannexb -f mpegts intermediate5.ts

Title Merging Videos
ffmpeg -i "concat:intermediate1.ts|intermediate2.ts|intermediate3.ts|intermediate4.ts|intermediate5.ts" -c copy -video_track_timescale 90000 -bsf:a aac_adtstoasc "Merged.mp4"

PAUSE

Errors :
[mpegts @ 000001e550c9a740] DTS 128882 < 5293388 out of orderitrate=48489.8kbits/s speed= 104x
[mpegts @ 000001e550c9a740] DTS 126000 < 2053347 out of order
[mpegts @ 000001e550c9a740] DTS 127439 < 2092407 out of order
[mpegts @ 000001e550c9a740] DTS 126000 < 1559930 out of order

Infos from few clips :
Input #0, mov,mp4,m4a,3gp,3g2,mj2, from '1.mp4':
  Metadata:
    major_brand     : mp42
    minor_version   : 0
    compatible_brands: mp41isom
    creation_time   : 2019-12-13T18:23:12.000000Z
    date            : 2019
  Duration: 00:00:57.43, start: 0.000000, bitrate: 47904 kb/s
    Stream #0:0(und): Video: h264 (High) (avc1 / 0x31637661), yuv420p(tv, smpte170m/smpte170m/bt470m), 1920x1080 [SAR 1:1 DAR 16:9], 47701 kb/s, 60 fps, 60 tbr, 60k tbn, 120 tbc (default)
    Metadata:
      creation_time   : 2019-12-13T18:23:12.000000Z
      handler_name    : VideoHandler
      encoder         : AVC Coding
    Stream #0:1(und): Audio: aac (LC) (mp4a / 0x6134706D), 48000 Hz, stereo, fltp, 196 kb/s (default)
    Metadata:
      creation_time   : 2019-12-13T18:23:12.000000Z
      handler_name    : SoundHandler

Input #0, mov,mp4,m4a,3gp,3g2,mj2, from '2.mp4':
  Metadata:
    major_brand     : mp42
    minor_version   : 0
    compatible_brands: mp41isom
    creation_time   : 2019-12-13T18:22:06.000000Z
    date            : 2019
  Duration: 00:00:21.43, start: 0.000000, bitrate: 49275 kb/s
    Stream #0:0(und): Video: h264 (High) (avc1 / 0x31637661), yuv420p(tv, smpte170m/smpte170m/bt470m), 1920x1080 [SAR 1:1 DAR 16:9], 49071 kb/s, 60 fps, 60 tbr, 60k tbn, 120 tbc (default)
    Metadata:
      creation_time   : 2019-12-13T18:22:06.000000Z
      handler_name    : VideoHandler
      encoder         : AVC Coding
    Stream #0:1(und): Audio: aac (LC) (mp4a / 0x6134706D), 48000 Hz, stereo, fltp, 196 kb/s (default)
    Metadata:
      creation_time   : 2019-12-13T18:22:06.000000Z
      handler_name    : SoundHandler


text:
How to split,reverse and concatenate video using single command in FFMPEG?
i want to create reverse video with audio and remov from large clip.for that first split video in segment then reverse splits video then concatenate all reverse video as single video file but it take too much time to execute all command.

i want to single command to do split,reverse and concatenate video.
first split video:
String[] cmd = {"-ss", spos, "-t", epos, "-i", videoPath, "-preset", "ultrafast", "-c:v", "libx264", "-crf", "22", "-map", "0", "-segment_time", "6", "-g", "9", "-sc_threshold", "0", "-force_key_frames", "expr:gte(t,n_forced*6)", "-f", "segment","file%3d.mp4"};
then, reverse splited video:
String[] cmd = {"-i", splitlistFiles[i].getAbsolutePath(), "-preset", "ultrafast", "-vf", "reverse", "-af", "areverse", file2.getAbsolutePath()}
finally,concatenate all reverse video as single video:
String[] cmd={"-i", reverselistFiles[i].getAbsolutePath(),"-filter_complex","[0:v0][0:a0","concat=n=N::v=1:a=1 [v] [a]","-preset", "ultrafast", "-map", "[v]", "-map", "[a]", file.getAbsolutePath()}
Please help me how can i reverse video with audio and remove audio in less time . Thanks in advance :) and sorry for bad english.


text:
Vegas Pro 13 : Project's and Timeline's framerate are suddenly not the same
So here's the thing : I'm editing on Vegas Pro 13, 25fps according to my origninal files. I just imported some sound I "mixed" externally.
And now, my timeline acts in 24fps although my project is still in 25fps. I don't know if it has something to do with the files I imported but the ctrl Z option is dead now. I can't figure out what the problem is, it's the first time I see anything like that in Vegas. The timeline should act according to the project setting, right ?  As shown in the screenshots bellow, I can't control every frame.

Are you sure that your footage is in 25 fps? If so, try and see if you can change the interpretation of the clip like in premiere. Other than that, a restart is the only thing I got left to propose.


text:
How to change orientation of video in project?
How to set this video to be horizontal, not vertical? Using Adobe Premiere 2015.

What you are looking for is the aspect ratio of your width/height. Your current aspect ratio looks like 9:16, so probably 1080:1920 in pixels. Change this to 16:9, meaning 1920:1080. You can find these settings in the sequence settings of your sequence.


text:
Is color banding usual problem in commercial released movies?
for very long time I have used two machines - one with good monitor for work and one with "ordinary" monitor for fun/movies/games.
Recently I unified this with high end mobile workstation with very good display with almost full sRGB coverage.
I immidiately noticed significant color banding in Youtube and movies. For Youtube I am sure that this is caused by compression and color space conversion.
But is this usual to happen in standard commercial movies? Especially animated movies with very dark scenes/moon light looks really bad on my new monitor. I compared same movies with old monitor and it looks that its limited color space sort of "smooth" these artefacts  out.
Are movie studios really that desperate to save streaming bandwidth and disc size to hope that there are not many people with eagle eyes who will criticize those few dark scenes in movies?
I know this is sort of subjective question, but hope someone have other/another opinion from experience.


text:
Software for real-time 2d puppetry?
Effectively, I'm just looking for something that would allow me to have a paper doll bounce around. Any ability to add animation to the face or whatnot isn't super important. I'm hoping there's something simple and real-time out there, since it would be a lot less time consuming to just shake a virtual stick while talking than to try to tween animation to match a voice in post.

There's Adobe Character Animator. It does pretty much exactly what you're looking for. It's a commercial product, part of the Adobe Creative Cloud suite. I'm not aware of any other real-time 2D animation packages at this time.


text:
Use android camera and usb mic on pc
Apologies in advance if this is a very noob question - I barely know anything about video production.
I'd like to record video and use my fancy-ish USB microphone as the audio source. Unfortunately I don't have a camera (or any other equipment), and thus would like to somehow use my android phone's camera.
The setup I had in mind would use a pc app that allows me to hook my phone and USB mic up to my pc, and select them as the respective video and audio sources, and record everything into one file on my pc. What I don't want is a scenario where I'm separately recording video and audio and then I have to learn how to edit videos and try to manually synchronize the video and audio in post-production.
I've been researching for a couple of hours, but couldn't find anything that does what I want, other than the following semi-solutions.

IP Webcam. An Android app that allows you to stream video from your phone to your pc via wifi. The problem I had with this is the terrible video resolution and lag. This put me off so quickly that I didn't even bother to look if I could select an alternative audio source.
Open Camera. This is an Android app that allows you to connect and use a microphones other than your phone's built in mic. This seems to be the best solution, and I'd have loved to go with this, but the problem with this one is that I don't have a USB to Micro USB converter and thus won't be able to plug my microphone into my phone.
OBS. I came across a video on youtube where a guy (seemingly) records video (with a camera - not screen capturing) using OBS, but I don't know if he's using an older/different version of OBS, coz I don't have half the settings he does (not to mention that he didn't actually show which setting allowed him to choose his video sources). And from the production quality of his video he clearly uses actual cameras and not a phone, so I'm not sure if I'd even be able to hook a phone up to it anyway.

So my first question is whether or not what I'm trying to do is even possible? If it's not, what's the closest I can get to it using only an android phone, usb mic and pc?
If it is possible, please guide me through the setup. I'm not looking for crazy bells and whistles, so the more basic we can keep it, the better.
Let me know if I need to provide any additional information.

There is no good way to use an Android phone as an attached camera in the way you want. Your best bet is to get a GoPro or other dedicated camera which has a USB or hdmi output, or to use a microUSB adapter to connect your mic to the phone.

You can buy a cheap USB to micro USB for USD$10, see if your project worth more than that. You can buy it online, so, there is not much of an excuse for not getting it. But I do not know if your mic needs power from the USB connection. You probably need to make a test.
But on the other hand, sync of an audio source and a video can be done almost automatically if your video clip has some audio references on it.
Grab your free copy of Davinci Resolve, which is, in my opinion, one of the best editing software, free or paid, and look for a tutorial on how to sync audio.


text:
How can I animate an iPhone screen within a blender animation?
I rendered an iPhone with a black screen in Blender and then animated it so the camera pans in a circle around the iPhone. I exported this as an AVI file. Then I took my real iPhone and took a screen recording. How can I use After Effects to overlay the black screen from the fake rendered iPhone with this recording while the AVI video pans the camera around the rendered phone? I am new to After Effects.

You can use your screen recording as a video texture in Blender.
This would then require no tracking / layering in After Effects.
Here's an example of how to go about this.

I made an attempt to use a green screen my rendering the iphone again with a green front and then using track motion within After Effects. Results aren't great, it doesn't track well and it's very wobbly but it seems like I'm on the right track.


text:
Fixing audio/video out of sync when editing recorded broadcast
I have recorded broadcast-ed material using a DVB-T tuner.
That produces several TS files per recording (most likely to keep filesize within FAT32 limitations).
I have concatenated each recording into a single TS file using:
ffmpeg.exe -f concat -i $filelist -c copy -y $outputfile

From there, I need to perform edits to remove commercials, strip extra stuff from the start and end, and optionally extract each episode into a separate file.
I own Pinnacle Studio 23 Ultimate, that doesn't support TS as input so I'm converting TS to MP4 using something like:
ffmpeg -y -i foo.ts -crf 18 -ac 2 -r 25 -c:v libx265 -ar 48000 -b:a 192k -c:a aac -aspect 16:9 bar.mp4

(I've tried several ways/options, including using HandBrake for that conversion).
What happens is that in the resulting edited material, audio and video are out of sync. Can be in the whole file, or only in some sections.
This could be linked to glitches (missing frames...) in the original recording.
But when I play the original single-file TS, or the MP4 version, in any player such as VLC, audio and video are properly aligned. So these players are able to deal with the aforementioned glitches and "re-align" the audio and video streams.
How can I "rewrite" the whole input file in such a way that audio and video are "fully synchronized" so that editing will be possible?
Thanks in advance for your help.

My DVB-T recordings always have this issue. Try MC-TVConverter2!
It is a (old but still reliable) graphical interface for several video tools. Try converting your original ts recording(s) using the MPEG2 HQ setting - I've found this option to be more of a repair than a re-encode, as the conversion is quick and the resultant file size is very close to the original recording.
There are numerous other conversion options, but the MPEG4 one takes a long time to re-encode, even with MPEG4 based ts files. It also has ad detection but I haven't tried it.
You're unable to use an ntfs formatted drive for recording?
Report back on how you go!
http://mctvconverter.vivolum.net/


text:
Canon 5D Mark III mirroring
I have a Canon 5D Mark III with an Andycine external monitor connected. Since i'm alone shooting myself, when I record, I'd like to see the recording indicator on the external monitor BUT WITHOUT loosing the ability to use the built in back monitor in the camera - in case I need to change any settings.
How can I set up mirroring to both builtin monitor & external in a way to see important info like the recording light or an important pop up like "SD CARD is full"?
Does this make sense?
Right now I can have it mirroring but with no info on the external like the red dot recording indicator. I can configure it to display it on the external but then lose the signal to the builtin monitor. How can I set it up to have the built in monitor keep working?


text:
Unsupported video driver on bootcamp
Apologies in advance if this is too noob a question. I have already searched google and couldn’t find a satisfactory answer.
So I decided to give Premiere Pro a go and downloaded the Adobe Premiere Pro 2020 on my mid 2014 MacBook Pro. I had to install it on my bootcamp windows because my main Macintosh drive is near full. But after I opened it for the first time, there was a warning that said unsupported video Driver. I try to update my NVIDIa GeForce GT 750M through GeForce Experience and update to the latest driver, but it still showed the warning. I clicked the Adobe System compatibility report and it said (strangely) on the first line no conflicts to report and then on the second line Nvidia has identified a bug which caused random crashes and has provided a fix in driver version 430.86 .... I went to Nvidia driver download website but the driver mentioned in the report was not for my  specific graphic card (GeForce 750M) I tried to download the 430.86 but it was blocked from installing as incompatible. So I don’t know what to do next.
I choose to ignore the warning
at the moment. But I would appreciate if someone could help me out here.

I have the same issue, the reason is that your graphic card is not supported with the 2020 version of Premiere Pro. I have the exact same graphic card.
Check the Recommended graphics cards from Premiere Pro system requirements.


text:
Show current frame or display timecode (frames) on MPC-HC?
Does anybody know if this is possible? I know how to encode timecode display using ffmpeg but I would like to avoid this step and find a way in MPC (currently my favorite video player). CTRL+J doesn't display this feature. Thanks.

I landed here before finding the answer elsewhere (https://forum.videohelp.com/threads/307102-MPC-not-showing-frame-rate). Try View\Statistics (or Ctrl+4) to display the framerate, multiplier, and other statistics (w/o using a different filter).

If the video file has subtitles (even fake ones, even not being displayed), you can go to View -> Subresync (or hit Ctrl + 6) and you'll see the timecode in the status bar displayed as {Hour:Minute:second.frame}.  As yet, I haven't found how to make this display format permanent, to appear even without a subtitle track.
EDIT:  In my own searching, I just came upon a post elsewhere stating that if you right-click the time on the status bar, in ANY video, whether or not it has subtitles, then you will see an option for "High precision".  You only need to select it once, and then the preference will be remembered for all subsequent files (even audio only).

The "High precision" option shows milliseconds, but it doesn't show the frame number.

Go to MPC settings, External filters, Add filter ffdshow Video Decoder. Move it to the top of the list and set it to Prefer.
Then double click it to open its settings. Check OSD (On-Screen-Display) then check Current Frame.
You can easily enable and disable to revert to your normal decoder by unchecking the box next to ffdshow Video Decoder

taken from this forum


text:
High dynamic range on smartphones
I'm interested in serious videography with smartphone(portability is the key).
On bright days they perform quite well, one thing which bothers me is dynamic range.
I use Filmic Pro which gives me 115mbit 4k video.
Do you have any suggestions how to expand dynamic range?
HDR video?
Recording to log ?
Thank you

Recording in log gives you a higher range to play with in post, so if your phone supports it, you should do it. If the phone is locked down for specific shots, you can try to film one pass of the shot with low brightness, crushing some dark areas, a normal pass, and a bright pass, overexposing the highlights a bit. If you now stitch those passes together, you should be able to see an improvement in Dynamic Range.

Are you sure that every log profile gives better dinamic range ? My research shows that on some devices yes, on some devices no. Stitching fottages together is nice idea, but in reality impossible. I prefer record for exampke 48fps ..24frames with low iso, 24frames with higher iso...but which app can do that? Thank you


text:
If I use Adobe Premiere Pro for video editing, does it matter what screen capture software I use?
The reason I ask is because I’m choosing between these two screen capture software packages: Camtasia ($250) and FilmoraScrn ($19.99). I will capture my screen to a great extent in the months ahead.
Camtasia has more advanced editing functionality than FilmoraScrn, however it may not make sense to use either of them for editing in the long run. I want to avoid potentially over-spending by buying Camtasia if I find its editing functionality unsatisfactory compared to Adobe Premiere Pro.
So if I use Adobe Premiere Pro for video editing, does it truly matter what screen capture software I use?

If you are going to use Premiere for editing, there is no point in looking at the editing advantages, they won't be higher than Premiere's capabilities for sure.
Some polls have Filmora lower in rating, but the only issues were with editing.
I was making screen capture for programming videos, and on Mac, I wasn't using anything but quick time player, since 100% of editing goes to Premiere, where you can do literary everything.

If you're going to be editing in premiere, then it doesn't matter which screen capture software you use. Even if your screen capture software outputs a video file that is incompatible with Premiere by default, you can use a free tool like ffmpeg to convert that file into something Premiere can handle. I found this ffmpeg command in the answer to this question that would probably handle whatever video you threw at it:
ffmpeg -i input.avi -c:v prores_ks -profile:v 3 -c:a pcm_s16le output.mov

Just replace input.avi and output.avi with your filename and desired output filename. There's much more customization that you can do with ffmpeg, and deeper information in that answer about ProRes that isn't relevant here. All you really need to worry about are the recording features of your screen recording software. If you're on a mac, I'd suggest Screenflick as a recorder. It doesn't have editing capabilities like Camtasia, but it has some pretty great export options for keypress overlays and mouse adjustments.


text:
How to convert ts to mp4
I have a lot of videos needed to convert from ts to mp4, how can I convert it without losing quality? I mean a lot like 30+ each week.
I did a search already but none can do it fast enough, doing it manually will takes me half an hour.
Is there any software do it for free?
Please teach me step by step I am not computer geek.

ffmpeg -i video.ts -codec copy video.mp4

I have a lot of files. I know this method, i want quicker tool @SlimSCSI

That is the fastest way. Automatically looping over a list of files in a bash/cmd script is super easy.

There are a million examples of how do write a shell script on the internet.

Is bash a program name? When I sesrch it there a few application named Bash

Search for “bash shell”. It the Mac/Linux equivalent of windows cmd/powershell

if you are looking for lighweight tool use Medlexo. Google the official site

It would be really helpful to write a step by step answer of how to do this @SlimSCSI

That really depend what do you want to achieve, if you want fast and lossless I think Medlexo is suitable for this job. It's free

There are two FFmpeg frontends that I have used quite a bit for batch video conversion:

WinFF
XMedia Recode

They are both for Windows, but I know there are more free FFmpeg frontends out there for other platforms. QWinFF is for Windows & Linux, but I think development has ceased.

https://alternativeto.net/tag/ffmpeg/
https://alternativeto.net/tag/ffmpeg-gui/

At best, you can use the software Handbrake
It greatly reduces the video volume and has little effect on the quality. In this software, make changes to the resolution section and other items. I'm sure if you test a few times you will notice its very good performance and this software is free.


text:
avisynth(+) + avslib - cropping each frame with different values
I tried to use ArrayOpArrayFunc of avslib (Avisynth plugin) to crop each frame differently based on the contents of an array.
I start with image files, say 20, build my arrays, and try to apply the filters, but I must make a mistake as I cannot get this to work. Any idea how to fix my script?
Import("C:\Program Files (x86)\AVSLib\avslib\loader.avsi")
Import("C:\Program Files (x86)\AVSLib\avslib\avslib.avsi")
LoadLibrary("avslib", CONFIG_AVSLIB_ARRAYS)
LoadModule("avslib", "base", "constants")
LoadModule("avslib", "filters", "frames")

dx001 = ArrayCreate(1250, 1250, 2110, 1250, 1250, 1250, 1250, 1250, 1250, 1250)
dx011 = ArrayCreate(1250, 1250, 1250, 1250, 1250, 1250, 1250, 1250, 1250, 1250)
dx = dx001.ArrayInsRange(dx011)

dy001 = ArrayCreate(1300, 1300, 1300, 2000, 1300, 1300, 1300, 1300, 1300, 1300)
dy011 = ArrayCreate(1300, 1300, 1300, 1300, 1300, 1300, 1300, 1300, 1300, 1300)
dy = dy001.ArrayInsRange(dy011)

FirstFrame      = 1
LastFrame       = 20
FrameRate       = 25

function MyCrop(dx, dy, clip, w, h)
{
  return Crop(clip, dx, dy, w, h)
}

Raw = ImageReader("GOPR%04d.JPG", FirstFrame, LastFrame, FrameRate)
Crop = ArrayOpArrayFunc(dx, dy, "MyCrop", "Raw,1600,1200")
BilinearResize(Crop, 800, 600)

The error message is 'I don't know what "Raw" means'.
The original images are 4000x3000, they need to be cropped variously (simplified version of the arrays above), then resized to final video format.

FirstFrame      = 1
......
......
Raw = ImageReader("GOPR%04d.JPG", FirstFrame, LastFrame, FrameRate)

Probably the file GOPR0001.JPG doesn't exist in your current directory.
From AviSynth manual:

The first file in the sequence, i.e., corresponding to 'start', MUST exist in order for clip parameters to be computed. Any missing files in the sequence are replaced with a blank frame.

For testing it directly in your script, temporary put Raw  __END__ at the end of the command, i. e.
Raw = ImageReader("GOPR%04d.JPG", FirstFrame, LastFrame, FrameRate)  Raw  __END__

and play back your script (.avs file). If you get the same error, non-existence of the file GOPR0001.JPG is your problem.


text:
Moving image to back- and foreground over time
I'm using Adobe After Effects. I have a composition with several layers. One layer consists of an image which is shown for around 20s. At time point 10s I would like to bring the image to the foreground (relative to the other layers) and at time point 15s I would like to move it again to the background.
How can I achieve this?

After Effects by default works in 2D, but you can change a layer so that it can be moved in 3D space.  The layer itself is still flat, but (like a postcard moving through space) it can be positioned using x,y and z coordinates where z is depth.
This tutorial explains it well:
https://helpx.adobe.com/after-effects/how-to/position-2d-layers-in-3d-space.html
You can also do full 3D work in After Effects, but I think this should cover your question.
Alternatively if you want to only work in 2D, sometimes I duplicate a layer, and have one layer at the bottom of my stack, and the duplicate layer at the top, so that when I need to change its apparent "depth", I make one layer invisible and make the other layer visible (by keyframing the Opacity property).


text:
Import Sequence to Adobe Rush
I'm looking for a way (in Rush) to edit a project that's been started in Premiere Pro.
In all of my searching, I've not found an option to go that way, but only the other way around.


text:
I have a video I made in Premiere Pro that is like slides with 150MB audio. How can I export it to a reasonable size?
I have a video I made in Premiere Pro that is like slides with 150MB audio. How can I export it to a reasonable size?
When I try to export it, it exports to a size of 7GB
I could perhaps do something with some other software to make it smaller, but i'm wondering if premiere pro has any option?
If not then what do you suggest I can do to other software to make it smaller?
The video portion is just slides showing text, and the slides some change after 5 seconds near the start, then every 5 minutes or so.

I've seen this question asked a few times here, see Best export settings for still image with audio and also Upload edited video to YouTube - I suspect it has been asked other times as well.
Most of the end-user / commercially available encoders require a "broadcast" standard frame rate (25fps/30fps/etc), and the outputting of all those frames ramps up the file size. Some online services seem to be using variable frame rate (VFR) encoders (see Facebook, referenced in the "edited video to YouTube" link above), which just encode the still frames each time they change (sometimes with minutes between each new frame), and drastically reduce the file sizes. If anyone knows of such an encoder being available to the general public, that is the answer to all of these questions - I'm yet to find one.
Without a VFR encoder, you're stuck with one of the generally available codecs like H.264, where all you can really do is just push the compression as hard as you can before the image turns to rubbish, but you're still going to get quite large files out of it.

You probably chose
            File → Export → Movie
It exported your video as an AVI file, creating the best quality video, but the output file is very large.
(This a little confusing option is for mastering purposes, or if you want to be able to edit the resulting video again without the quality lost.)
Use
            File → Export → Adobe Media Encoder
instead.
The “Export Settings” window opens, and you may choose a format from the drop-down menu at the top right of the window.
You can export it as Flash, Windows Media, Real Media, QuickTime, and a variety of MPEG formats including Blu-ray and H.264.
These options give more compressed, much smaller file size.

Without knowing either the resolution or the duration of the video is hard to know if that is a good file size or not. But in any case, you need to define a CODEC and a container for your video. And define the resolution of the project.
A typical one is FULL HD (1920x1080px) and the most used container is Mp4 with an h264 and ACC codecs for video and audio.
You could totally lower your framerate to even 1 pers second if you have direct cuts in between slides, but if the video has transitions between the slides you can not. Use 24Fps.

Of course, you already did your work, next time you can actually do it in a presentation program, and export it from there.

of course it's not a good file size, the audio is 150MB or so.  Some slides shouldn't make it 7GB.  There are no transitions, as I said, it's just slides/images and of text.  Re changing frame rate, I understand that option would be under "interpret footage" but that option is greyed out https://i.imgur.com/hCpPRwG.png


text:
gopro vs smartphones in dynamic range
I assume that GoPro has bigger sensor than smartphones, so the dynamic range is also a bit better, but is there a noticeable difference in real world scenarios ?
Thank you


text:
Is there a slideshow codec?
Is there a video codec that deals well with slideshows?
A substantial fraction of videos are slideshows with an audio track.  An appropriate video codec would compress to little more than the audio track.  Yet it seems all the video codecs behave as though they assume the majority of video will contain motion.


text:
I wanna speed things up while concatenating many media files
I want to concatenate many files using concat demuxer.
Problem is a portion of those files have different tbn from the others.
So, I followed an answer by @sr9yar at:https://stackoverflow.com/questions/31691943/ffmpeg-concat-poduces-dts-out-of-order-errors
Change the tbn values, then concatenate them.
If I have to change only a file, then it's ok. But there are many files that have to be adjusted, It's too much hassle.
The command I've just used looks like
ffmpeg -i "S5M7\S5M7_24 to 9.mp4" -i "S5M7\S5M7_29 to 11_2.mp4" -i "S5M7\S5M7_211_2 to 14.mp4" -i "S5M7\S5M7_2after 1.mp4" -video_track_timescale 1000 -c copy -map 0 "S5M7\S5M7_24 to 9.mp4" -video_track_timescale 1000 -c copy -map 1 "S5M7\S5M7_29 to 11_2.mp4" -video_track_timescale 1000 -c copy -map 2 "S5M7\S5M7_211_2 to 14.mp4" -video_track_timescale 1000 -c copy -map 3 "S5M7\S5M7_2after 1.mp4"

It's daily tasks, so I have to go through this again and again and again.
So I wonder

If I can tell concat demuxer to change tbn value before concatenate them
Or If FFmpeg accept regular expression as an input or output arguments
Or any other suggestion to make it done more efficiently

Give me a few days to get this fixed in ffmpeg.

All right. I'll look forward to hearing from you.


text:
Sony Vegas - render allowing source to adjust frame rate?
I have a bunch of mobile phone videos (different phones), that I want to render to one single video using sony vegas.
Should I check allow source to adjust frame rate when rendering? Or should I rather use a fixed framerate like NTFS? What would give better results?
Would allowing adjustment mean that each videos gets rendered in its original framerate? Means, the resulting one video would change the framerate during playback? And in case, would this be an advantage or disadvantage?

I just wrote a nice detailed answer but somehow I deleted the draft. To save time, the simple explanation (EDIT: I haven't gotten this from experience; I'm just going off what people have told me in the past):
Changing your frame rate to a fixed one produces exactly the same quality as using VFR (allowing the adjust of frame rate).
Checking the allow source to adjust frame rate button varies the frame rate in the rendered video for each source file. That means that if one of your source videos is 30fps and the next one 60, the frame rate will change when the next source video plays (from 30 to 60 in this example). I cannot think of a disadvantage of this, although re-editing the rendered video may be a bit weird (as shown in OSFirstTimer's YouTube video). Also shown in OSFirstTimer's video is that most phones record VFR videos but VEGAS Pro usually corrects that.
If you want to enable solid frame rate (Constant frame rate or CFR) follow this simple 2-step procedure:

Find the source video with the highest frame rate
Set your project to that frame rate

I'm new to Stack Exchange, so hope this helps!
Edit:
@Gyan in the comments says that this is not the case because "outputting a 30 or 60 fps project timeline consisting of a 30 and 60 fps media clip with 30 or 60 fps output frame rate all result in CFR output."
We all learn something new every day! :)
Also I haven't had a dilemma between CFR and VFR before, I'm just going off what I've seen happen to other people!

Does not appear to be the case. Outputting a 30 or 60 fps project timeline consisting of a 30 and 60 fps media clip with 30 or 60 fps output frame rate all result in CFR output.

I have found a setting of 10MBPS with allow source to adjust frame rate has given me pretty good results with Vegas 17 (latest version as of Oct 2020). NOTE: I've tried with both 30FPS and 60FPS and matching the source is what gave the best results.


text:
How to make video without hd (60fps) effect in 4K
I’m new to video production so please help me to understand one thing that I can’t find out.
Some videos in 4k or even 1080p don’t have this effect when the picture is super real and some videos have it. I mean for example when I download film to my new 4K TV in 1080p it can be more cinematic and another film more like (60fps) I want to make clips and short films without this effect. I shoot on iPhone X. What adobe premier settings should I set for videos to have more cinematic picture then “super-real”.
Many thanks!!

This question is very confusing. Please help us understand what you are trying to accomplish so that we can help you both improve the question and find an answer. Examples of what you consider “super-real” and “cinematic” might help, but those are often very subjective traits.  Also, you understand that frame rate and resolution are independent of each other, correct? A 1920x1080 video can be 60, 30, 24, or any other rate (FPS), and so can a 3840x2160 (UHD 4K) video.

Are you asking about how lower resolution footage sometimes looks different on your 4K television? It sounds like you might be referring to the motion smoothing effect that many modern televisions have, but the question is unclear.

Your question is rather confusing, but I'm going to assume you want to avoid smooth high frame rate footage
To do this, set your iPhone X to record at 24fps (or 30, if 24 is not available) and use the same frame rate (24/30fps) in Adobe Premiere.
It is important to make sure your iPhone X is also recording at the correct frame rate, as recording in 60fps but editing at 24fps will lead to choppy-looking footage and might cause other sorts of trouble


text:
Name of old VHS content blocker device
I am not sure if this is the right network to ask this question but it's the closest I could find.
An acquaintance of mine told me that, when he was a kid, they had some kind of content blocking system for VHS. The way that it worked was that it took the VHS signal and masked that with shapes of the content blocking system, thus blocking out offending images.
So in a scene that contained e.g. graphic violence it would put black shapes over the parts of the image that contained the violence.
The purpose was that this would basically "convert" a movie intended for an older audience so that it was watchable by a younger audience.
From what he recalls you would load the system with a VHS and a second media that contained the blocking shapes for this exact movie. He could not recall whether the blocking media was another VHS or some other kind of storage.
This device was probably sold in the 90s in the USA.
I tried googleing for it, but I could not find it.
Has anyone ever heard of something like this?

There was a line of movies sold with scenes completely removed, but this sounds quite different. I wonder what the market was for the device you described. Churches? I can imagine the implementation was to avoid copyright issues. This way, nobody had to distribute a modified work.


text:
Stabilize a really big drone ascent
I have a 300' ascent with a drone looking at 2 actors lying on the ground. The drone does a bit of drifting and rotating on the way up. I want to stabilize the whole shot to be rock solid. If I use point trackers in AE starting from the first frame, then by the time it gets to the top, the points are very close together, resulting in inaccurate tracking. Can I add points on the way up? Or expand the distance between the points on the way up? Is there a better way? Or am I asking too much? Cheers

Sure! This is a great place to start:


text:
DaVinci Resolve 16 node causing weird artififact to text
I was following the steps mentioned in an answer about adding blur to text from here
Everything worked fine but Step 10 caused a weird artifact to the text in the compound clip. The step says:

wire the RGB output of node 02 into the master RGB output

Here's how the current node structure looks after doing everything. Notice how the text looks weirdly bold.

This is how it looks if I skip Step 10:

What is creating this and how to fix it? Any other way of adding animated blur to text?

Hi.  It's my answer you're asking about.  I can't reproduce your results, but I do know that there was a bug in previous versions of resolve where ACES color management would mess up text.  Are you using ACES by any chance?  In more recent versions, they've added "smarts" to the behavior of alpha channels on the edit page, so that changing any transform parameter automatically punches out the image.

So, try re-setting transform in the inspector of the edit page (counter-clockwise arrow next to "transform") and see if it cleans up your text.  In your bottom image, since the green RGB connector isn't plugged into the color output, it's basically set to "passthrough," using the original color information of the text (which is white in this case, and you won't be able to change by changing the generator color in node 03, but should be able to by changing the text color on the edit page), so the only thing your node tree is contributing is control over the alpha channel (i.e., blur).

I'll try the reset. All I needed was a slow blur animation on the text, which is why I followed the steps in your answer. Although, I was running out of time so I left out the text animation altogether. Will report back once I try resetting transform


text:
Adobe After Effects - Why is my position marker not set to a frame?
In after effects, one of my compesitions is comprised soley of static images, vectors, solids, and other non-movie footage. One such static image layer lasts from frame 0 for 100 frames.
Another user has edited this file while i was away, and amongst these edits they changed the framerate for this compesition and managed to change the static image's lifetime in a funky way. It was still 100 frames long, and started at frame 0 on the compesition, but it some odd things had happened to it at the layer instance level.
The problem is that the static image has been given start time offset, and when I try and rectify this using the layer preview of said solid image, I can't set the cursor, in-point or out-point to a solid frame. When if scrub through the timeline I find myself always in-between frame markers; the cursor simply will not sit dead on frame 0 and will either snap to (aproximately) frame 0.125 or frame -0.625. The snap seems to be offset +0.125 frames and jumps in 0.5 frame ammounts.
The lifetime of the image as seen in the layer preview:

A close up of the timeline showing that the cursor is in-between frames:

I suspect it was due to the fps change, but that actually needs to stay as it is, so I need to rectify this issue without changing that. How can i fix this odd frame snap and snap offset?
This may ultimiately seem like a non-issue for many, but for us it's a breaking problem, as it's causing funky things to happen with one of our plugins, so any help rectifying this would be apprecated.
It's probably worth noting that my After Effects (along with my animation and movie editing knowledge in general) is very beginner. I'm at home in Photoshop, but I've been required to use After effects for my current project, so the fix may be simple, but i must be using a wrong keyword somewhere as I'm finding nothing remotely close to this when i search.

This thread could share some insights.
https://community.adobe.com/t5/after-effects-discussions/ae-playhead-not-snapping-on-the-next-keyframe/td-p/11184419

You don't need to go into the layer source to set the in-point of a layer. In the comp timeline select the layer, put the playhead at the frame you want and hit alt / opt[. For the outpoint it's alt / opt].
Should you wish to learn more have a look at the docs here.


text:
How to link the start and pause of an animation to a specific height from a null object?
I'll try to explain a little bit more in-depth, I'm making a set of animations for a website and the client essentially wants a preview of how each element reacts to each other as you're scrolling down the page. I have no experience with website development and that is fine for this job, as all im doing is setting up an interactive preview for the developer.
So far I've parented all the elements to a Null object and the Y position value of that null to slider controls and so far so good.
Now where I'm lost or in fact, confused if it's even possible within AE is to set up each animation element to start its sequence once I scroll the slider to a specific value? I'm not too familiar with expressions so any help will be appreciated.
If you need me to explain in more detail please do ask, hopefully I've tried to make it clear for what I'm asking

You need to provide a bit more detail, but if you want an expression to happen only when a slider is above a certain value you can use if(something > somethingElse){do stuff here}.
To time an animation so that it starts at that point is more tricky. Expressions can't store variables; they just evaluate each frame. So to find how far through the action the animation should be you'd have to calculate the first frame at which the property went above the threshold. You can do this with a loop:
var propertyToWatch = thisComp.layer("someLayer").someProperty;
var threshold = 12345;
if (propertyToWatch > threshold){ // above the threshold, time to do stuff
    var t = 0;
    // now search for the time when the property went above the threshold
    while (t <= thisComp.duration && propertyToWatch.valueAtTime(t) < threshold){
        t += thisComp.frameDuration; //add one frame
    }
    // t now equals the time when the property went above the threshold.
    // so the animation's relative age is time - t
    var animationAge = time - t;
    //do the animation stuff here, using animationAge as the time constant
}

This expression will get progressively slower to calculate as the sequence gets older, because the inner while loop has to be evaluated for each preceding frame. But usually only a problem if you have lots and lots of layers with this kind of expression, or your comp is half an hour long.


text:
Increase quality of movie from images with FFmpeg
I am trying to create a movie from a set of images with FFMpeg; I tried the following:
ffmpeg -framerate 5 -i pol00%3d.png -b:v 100M test.avi

The resulting movie, however, is a bit blurry compared to the original images at times, and I get this message:
[mpeg4 @ 00000152fc04b1c0] bitrate tolerance 4000000 too small for bitrate 100000000, overriding

I also get the following output:
frame=  257 fps= 51 q=2.0 Lsize=   76441kB time=00:00:51.40 bitrate=12183.0kbits/s speed=10.3x
video:76430kB audio:0kB subtitle:0kB other streams:0kB global headers:0kB muxing overhead: 0.015302%

If I naively roughly sum up the individual png image sizes, I get roughly 120 MB.
So, how can I increase the bitrate? I tried using mpeg and H.264, but the files created by these are not readable by WMP. File size does not matter, I just want a movie of the same quality as the individual images.

See first command at https://video.stackexchange.com/a/18549

I went down to crf 1, and now it looks fine, but it still could look a little bit better; the pictures contain a lot of very thin lines which look a little bit too broad in the movie. It looks similar to when you are loading a picture and the picture is still buffering. Any ideas?

You can use the methods here, but the output won't play in many players.

I see, thanks for your help!


text:
The ffmpeg webm_dash_manifest demuxer fails with webvtt subtitles
I am trying to create a DASH manifest using ffmpeg and I encounter some difficulties with the subtitles. I get the error
[webm_dash_manifest @ 0x55e19db48180] EBML header parsing failed
[webm_dash_manifest @ 0x55e19db48180] Failed to read file headers
subtitles.vtt: Operation not permitted

The subtitles are encoded in the plain text webvtt format. I first assume that the EBML header are missing because the subtitles were not contained in a webm container. I then tried to create a webm file containing only the subtitles. It appears impossible.
I think the problem comes from the webm_dash_manifest demuxer. It seeks metadata in a file with no metadata. However neither Google nor Stack Overflow give me an answer.
The command I used :
ffmpeg \
-f webm_dash_manifest -i video.webm \
-f webm_dash_manifest -i audio.webm \
-f webm_dash_manifest -i subtitles.vtt \
-map 0 -map 1 -map 2 \
-c copy \
-f webm_dash_manifest \
-adaptation_sets "id=0,streams=0 id=1,streams=1 id=2,stream=2" \
minimal.mpd

and the ffmpeg output:
ffmpeg version 3.2.14-1~deb9u1 Copyright (c) 2000-2019 the FFmpeg developers
  built with gcc 6.3.0 (Debian 6.3.0-18+deb9u1) 20170516
  configuration: --prefix=/usr --extra-version='1~deb9u1' --toolchain=hardened --libdir=/usr/lib/x86_64-linux-gnu --incdir=/usr/include/x86_64-linux-gnu --enable-gpl --disable-stripping --enable-avresample --enable-avisynth --enable-gnutls --enable-ladspa --enable-libass --enable-libbluray --enable-libbs2b --enable-libcaca --enable-libcdio --enable-libebur128 --enable-libflite --enable-libfontconfig --enable-libfreetype --enable-libfribidi --enable-libgme --enable-libgsm --enable-libmp3lame --enable-libopenjpeg --enable-libopenmpt --enable-libopus --enable-libpulse --enable-librubberband --enable-libshine --enable-libsnappy --enable-libsoxr --enable-libspeex --enable-libssh --enable-libtheora --enable-libtwolame --enable-libvorbis --enable-libvpx --enable-libwavpack --enable-libwebp --enable-libx265 --enable-libxvid --enable-libzmq --enable-libzvbi --enable-omx --enable-openal --enable-opengl --enable-sdl2 --enable-libdc1394 --enable-libiec61883 --enable-chromaprint --enable-frei0r --enable-libopencv --enable-libx264 --enable-shared
  libavutil      55. 34.101 / 55. 34.101
  libavcodec     57. 64.101 / 57. 64.101
  libavformat    57. 56.101 / 57. 56.101
  libavdevice    57.  1.100 / 57.  1.100
  libavfilter     6. 65.100 /  6. 65.100
  libavresample   3.  1.  0 /  3.  1.  0
  libswscale      4.  2.100 /  4.  2.100
  libswresample   2.  3.100 /  2.  3.100
  libpostproc    54.  1.100 / 54.  1.100
[webm_dash_manifest @ 0x55e19db17160] Could not find codec parameters for stream 0 (Video: vp9, none, 1280x534): unspecified pixel format
Consider increasing the value for the 'analyzeduration' and 'probesize' options
Input #0, webm_dash_manifest, from 'video.webm':
  Metadata:
    title           : Cloud Atlas
    ENCODER         : Lavf58.35.104
  Duration: 00:05:00.01, bitrate: 998 kb/s
    Chapter #0:0: start 0.000000, end 300.000000
    Metadata:
      title           : Chapter 01
    Stream #0:0(eng): Video: vp9, none, 1280x534, SAR 1:1 DAR 640:267, 23.98 fps, 23.98 tbr, 1k tbn, 1k tbc (default) (forced)
    Metadata:
      title           : Video @ 6.9 Mbps [frame B:188517 Avg QP:20.66]
      ENCODER         : Lavc58.66.100 libvpx-vp9
      DURATION        : 00:05:00.008000000
      webm_dash_manifest_duration: 300008
      webm_dash_manifest_initialization_range: 900
      webm_dash_manifest_file_name: video.webm
      webm_dash_manifest_track_number: 1
      webm_dash_manifest_cues_start: 37455991
      webm_dash_manifest_cues_end: 37457486
      webm_dash_manifest_bandwidth: 1420427
      webm_dash_manifest_cluster_keyframe: 1
      webm_dash_manifest_cue_timestamps: 298715
Input #1, webm_dash_manifest, from 'audio.webm':
  Metadata:
    title           : Cloud Atlas
    ENCODER         : Lavf58.35.104
  Duration: 00:05:00.01, bitrate: 126 kb/s
    Chapter #1:0: start 0.000000, end 300.000000
    Metadata:
      title           : Chapter 01
    Stream #1:0(eng): Audio: opus, 48000 Hz, stereo, fltp (default)
    Metadata:
      title           : Audio Eng DTS 5.1 channels 24 bits @ 1509 Kbps cbr
      ENCODER         : Lavc58.66.100 libopus
      DURATION        : 00:05:00.007000000
      webm_dash_manifest_duration: 300007
      webm_dash_manifest_initialization_range: 838
      webm_dash_manifest_file_name: audio.webm
      webm_dash_manifest_track_number: 1
      webm_dash_manifest_cues_start: 4744091
      webm_dash_manifest_cues_end: 4745279
      webm_dash_manifest_bandwidth: 137531
      webm_dash_manifest_cluster_keyframe: 1
      webm_dash_manifest_cue_timestamps: 295000
[webm_dash_manifest @ 0x55e19db48180] EBML header parsing failed
[webm_dash_manifest @ 0x55e19db48180] Failed to read file headers
subtitles.vtt: Operation not permitted

I noticed that ffmpeg -f webm_dash_manifest -i subtitles.vtt suffices to reproduce the error.
I have also tried without the -f webm_dash_manifest flag, with no success :
ffmpeg \
-f webm_dash_manifest -i video.webm \
-f webm_dash_manifest -i audio.webm \
-i subtitles.vtt \
-map 0 -map 1 -map 2 \
-c copy \
-f webm_dash_manifest \
-adaptation_sets "id=0,streams=0 id=1,streams=1 id=2,stream=2" minimal.mpd

Output :
ffmpeg version 3.2.14-1~deb9u1 Copyright (c) 2000-2019 the FFmpeg developers
  built with gcc 6.3.0 (Debian 6.3.0-18+deb9u1) 20170516
  configuration: --prefix=/usr --extra-version='1~deb9u1' --toolchain=hardened --libdir=/usr/lib/x86_64-linux-gnu --incdir=/usr/include/x86_64-linux-gnu --enable-gpl --disable-stripping --enable-avresample --enable-avisynth --enable-gnutls --enable-ladspa --enable-libass --enable-libbluray --enable-libbs2b --enable-libcaca --enable-libcdio --enable-libebur128 --enable-libflite --enable-libfontconfig --enable-libfreetype --enable-libfribidi --enable-libgme --enable-libgsm --enable-libmp3lame --enable-libopenjpeg --enable-libopenmpt --enable-libopus --enable-libpulse --enable-librubberband --enable-libshine --enable-libsnappy --enable-libsoxr --enable-libspeex --enable-libssh --enable-libtheora --enable-libtwolame --enable-libvorbis --enable-libvpx --enable-libwavpack --enable-libwebp --enable-libx265 --enable-libxvid --enable-libzmq --enable-libzvbi --enable-omx --enable-openal --enable-opengl --enable-sdl2 --enable-libdc1394 --enable-libiec61883 --enable-chromaprint --enable-frei0r --enable-libopencv --enable-libx264 --enable-shared
  libavutil      55. 34.101 / 55. 34.101
  libavcodec     57. 64.101 / 57. 64.101
  libavformat    57. 56.101 / 57. 56.101
  libavdevice    57.  1.100 / 57.  1.100
  libavfilter     6. 65.100 /  6. 65.100
  libavresample   3.  1.  0 /  3.  1.  0
  libswscale      4.  2.100 /  4.  2.100
  libswresample   2.  3.100 /  2.  3.100
  libpostproc    54.  1.100 / 54.  1.100
[webm_dash_manifest @ 0x557f55dd1160] Could not find codec parameters for stream 0 (Video: vp9, none, 1280x534): unspecified pixel format
Consider increasing the value for the 'analyzeduration' and 'probesize' options
Input #0, webm_dash_manifest, from 'video.webm':
  Metadata:
    title           : Cloud Atlas
    ENCODER         : Lavf58.35.104
  Duration: 00:05:00.01, bitrate: 998 kb/s
    Chapter #0:0: start 0.000000, end 300.000000
    Metadata:
      title           : Chapter 01
    Stream #0:0(eng): Video: vp9, none, 1280x534, SAR 1:1 DAR 640:267, 23.98 fps, 23.98 tbr, 1k tbn, 1k tbc (default) (forced)
    Metadata:
      title           : Video @ 6.9 Mbps [frame B:188517 Avg QP:20.66]
      ENCODER         : Lavc58.66.100 libvpx-vp9
      DURATION        : 00:05:00.008000000
      webm_dash_manifest_duration: 300008
      webm_dash_manifest_initialization_range: 900
      webm_dash_manifest_file_name: video.webm
      webm_dash_manifest_track_number: 1
      webm_dash_manifest_cues_start: 37455991
      webm_dash_manifest_cues_end: 37457486
      webm_dash_manifest_bandwidth: 1420427
      webm_dash_manifest_cluster_keyframe: 1
      webm_dash_manifest_cue_timestamps: 298715
Input #1, webm_dash_manifest, from 'audio.webm':
  Metadata:
    title           : Cloud Atlas
    ENCODER         : Lavf58.35.104
  Duration: 00:05:00.01, bitrate: 126 kb/s
    Chapter #1:0: start 0.000000, end 300.000000
    Metadata:
      title           : Chapter 01
    Stream #1:0(eng): Audio: opus, 48000 Hz, stereo, fltp (default)
    Metadata:
      title           : Audio Eng DTS 5.1 channels 24 bits @ 1509 Kbps cbr
      ENCODER         : Lavc58.66.100 libopus
      DURATION        : 00:05:00.007000000
      webm_dash_manifest_duration: 300007
      webm_dash_manifest_initialization_range: 838
      webm_dash_manifest_file_name: audio.webm
      webm_dash_manifest_track_number: 1
      webm_dash_manifest_cues_start: 4744091
      webm_dash_manifest_cues_end: 4745279
      webm_dash_manifest_bandwidth: 137531
      webm_dash_manifest_cluster_keyframe: 1
      webm_dash_manifest_cue_timestamps: 295000
Input #2, webvtt, from 'subtitles.vtt':
  Duration: N/A, bitrate: N/A
    Stream #2:0: Subtitle: webvtt
Could not write header for output file #0 (incorrect codec parameters ?): Operation not permittedStream mapping:
  Stream #0:0 -> #0:0 (copy)
  Stream #1:0 -> #0:1 (copy)
  Stream #2:0 -> #0:2 (copy)
    Last message repeated 1 times

Note : [webm_dash_manifest @ 0x557f55dd1160] Could not find codec parameters for stream 0 (Video: vp9, none, 1280x534): unspecified pixel format is harmless according to this post.
The subtitles have been extracted with ffmpeg :
ffmpeg -i "Cloud Atlas.mkv" -map 0:6 -t 00:05:00 -c:s webvtt -dash 1 subtitles.vtt

Any update on this?

@ClémentBisaillon I haven't find any solution with ffmpeg. I use instead the shaka-packager.


text:
How to prevent microphone batteries from going dead by mistake?
I have a home setup for doing video calls where I've got a Panasonic Lumix G7 with a Rode VideoMic Pro attached in its P2 jack. These are then fed into a USB capture card and connected to my computer.
Throughout the day and the varied video calls, I turn on and off the camera as required (and put on the lens cover), but I keep forgetting about the mic. Since it uses phantom power from a 9V battery, it's not uncommon that I leave it running for a whole night before coming back the next day. This microphone has an LED indicator in the back which is hard to notice, compared to the camera that has a whole display that tells me its still running or not.
Other than obviously remembering to shut it down after each use, is there anything I can do to "automate" away the task of shutting down the microphone?


text:
With what tools could I make a video like this?
I have not much experience with video making and I am looking for simplest softwares to make a video like this.
Since you are an expert, which tools do you think have been used?
Video:

Features:

Animation effects
Website screenshot (there are not actual screenshot but are re-design to highlight only important feature)
Illustrations (Where I can found lots of illustration to buy/download) ?

There are lots of different software packages that could have been used, and trying to guess which one would merely be speculation, and really of no use to you or anyone; knowing what tool was used won't make you able to use it. Perhaps do a bit more research about animation software and if you have any specific questions come back and ask them.

Yes, but I would like to have something to start with.

Try this one: https://lmgtfy.com/?q=animation+software&s=d&iie=1

I've made many infographic videos similar to this. The workflow is quite simple:

Write the script about what's going to happen.
Create the illustrations that are supposed to be seen using Adobe Illustrator.
Import the Illustrations in After-Effects (as Paths, NOT as pixels, like .png or
.jpg!)
Animate the illustrations and  separate file for each shot.
Edit everything in Adobe Premiere, add sounds there (or in After-Effects, if you like).

And that's it. The hard part is knowing how to do every single step, which will take weeks or months of practice and dedication to learning the craft.
The easier way would be to buy Illustrations online, like from mr. Horse, BUT:
You will still have to animate the illustrations on your own, which is the hardest part of them all!
If you're not familiar with After-Effects, I don't advice you to spend money on assets that you can't animate. That would be wasted money.


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Which export for display a loop illustration on Facebook?
I've made a graph with some looping animations on After Effects.
The video is 2 sec long but has to loop.
So I've made a GIF export. It worked well... until the upload on Facebook (or Giphy) : my work become blurry and unreadable.
Properties of my export : 25 fps, 23 mo
Could someone let me know the good process to display a very short and looped video on social network ?

Giphs have the problem that they are heavily compressed most of the time. Uploading the file to Giphy or facebook might additionally re-format the file and compress it even more, as does youtube or vimeo with their files aswell. You might want to try and increase the resolution of your composition and upscaling everything. In your viewer, not a lot will change, but with a higher resolution, the gif should be a bit more readable at last. Also, try to make Text as large as possible, without blowing it out of proportion.
If none of that helps, you might want to look into other containers and formats that support high web-compression and looping, such as webm.


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DaVinci Resolve 16 - Restore Deleted/Crushed Project
Hello again community!
I came back with a new issue in DaVinci Resolve 16.. I was working in two projects (both where opened) and after a crush both are lost. I restarted my PC just in case, but no I wasn't that lucky...
I have searched in AppData\Roaming\Blackmagic Design\DaVinci Resolve\Support\Resolve Disk Database\Resolve Projects\user-name\Projects\MyProjects, but there weren't any trace from both of those.
I wasn't smart enough from the very beginning to set up the auto choice for creation projects' backups. (I did it know like shown in picture below).

Logically there has to be a way to restore a deleted/crushed project in a tiny period of time (a couple of hours after that). Does anyone know how to do that?

Have you ever saved the project? If davinci doesn't show your project anywhere, I am afraid that it's lost. Regular saving should happen without noticing. Try to develop the habit of pressing ctrl+s every minute or so.

Yes I have the good habit to save it every 5-10 minutes. The project I have lost was successfully saved from yesterday. That's why I can not understand how a crash can delete it permanently.

Have you looked in C:\ProgramData\Blackmagic Design\DaVinci Resolve\Support\Resolve Disk Database\Resolve Projects. I am not sure why but that is where my projects are located.

My default location is AppData\Roaming\Blackmagic Design\DaVinci Resolve\Support\Resolve Disk Database\Resolve Projects\user-name\Projects\MyProject, but those two projects are not there anymore..


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How to silence or mute part of a clip in Adobe Premiere?
One of my favorite parts of Final Cut Pro is the ability to select part of a clip and silence it with a single shortcut (which adds 4 keyframes automatically):

Is it possible to do this in Adobe Premiere Pro CC 2020?

Okay, the closest thing that I've found so far is to:

Make a cut with the razor tool
Select the audio part with alt + click
Toggle Enable clip with shift + command + e (to disable the audio)

Use razor tool (C) to make cuts at the beginning and end of the section of audio that you want removed.
Switch to the pointer tool (V), then click the section of audio
Press the Delete key to remove that section.

To minimise mousing around:

Cmd +K with the razor
Space Play to the next point (and stop)
Cmd + K to make the next cut
Cmd + up arrow to select previous clip
Cmd + shift + E to mute that region

"Select previous clip" always selects based on the clip that is currently selected (highlighted in white). Sometimes that won't be the clip nearest your playhead. You may have to tap cmd + up arrow or down arrow a few times to get to your clip.

Pick the selection tool (V).

Right click the audio track: Show Clip Frames -> Volume -> Level. To show the volume bar.

Hold Ctrl and click twice before the relevant clip part to place two keyframes.

Hold Ctrl and click twice after it to place another two keyframes.

Grab the volume bar between the key frames and pull all the way down.

This seems to be the fastest method without having to cut the clip.


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How to show the duration in the clip overlay in minutes and seconds instead of frames in Adobe Premiere Pro?
Even though my timeline is showing hours and minutes, when I hover over a clip I see the duration in frames. Is there a way to change this to hours and minutes?

Ok, I figured it out:
Sequence | Sequence properties | Editing mode: HDV 720p | Display format: 29.97 fps Drop-Frame Timecode


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How to make an onscreen timer graphic that counts down to different sections of the video?
For an example of what I'm talking about, check out this youtube video (on the top left corner). I'm using Premiere Pro. I'd be willing to pay for a plugin that would make this simple, but I don't even know what it's called so I haven't been able to find anything from Google.

Any tips? I'd really appreciate it.

This is a very simple effect that can be achieved using the Radial Wipe effect (which can be found in the Effects panel Video Effects > Transition > Radial Wipe)

Using the 'Transition Completion' set one keyframe at the start at 100% and the second keyframe for the end of the clip at 0%. To match the effect in the example you have shown, change the wipe to Counterclockwise and find a circle or ring shaped graphic to represent the timer.
In this case the static red ring should be place in the background with no effect applied and the moving white ring should be placed above with the effect applied.
You could even use the Video Effect 'Circle' under Video Effects > Generate to create the circle.


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Need Help in Replacing Screen of 3d rotating phone ( AE CC 2018)
First post here! Apologies for any mistakes!
I have a footage of a rotating iPhone with its screen set to green (so I can play around in AE with what to show on the phone screen).
I have tried to manually place my own footage on the screen ( since it's only 30 frames) but of course, that doesn't look good as there are a lot of shaking and inconsistencies.
I tried Mocha in AE but that too doesn't work that well considering this phone rotates in 3d and it's not linear 2D movement.
Tried 3d Camera Tracker in AE but it fails the analysis never succeeds and fails (and IDK why :| )
Attaching required screenshots here. Any help would be appreciated!
Thanks!

Since it's only 30 frames long, I'd probably do away with tracking and just keyframe it manually using the 'corner pin' effect. Or do a partial track with Mocha AE and supplement the parts that start to drift with corner pinned footage.

Or use the standard pixel tracking to set up the corner pin.

hmm, that's what ill end up doing probably! but a one-click solution would have been cool though! ;p


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Is there any way to get light flares in a canon m50 and its 15-45mm lens?
I recently got a canon m50 for recording music videos, and despite several bad reviews I have read, I think it works quite well generally.
There are some things though that I do not like that I am trying to solve.
One of them is that whenever I have a source of light (like a lamp) in front of the camera or irradiating the edge of the lens I cannot get light flares (which would give a very aesthetic look to my videos).
So is it there any way to get light flares with the lens I have (a 15-45mm lens)? Or do I have to buy another lens for it?

The focal length of your lens does not necessarily determine wether or not you will see lens-flares. Lens-flares appear by reflecting light within the lenses, often bouncing around which in on itself would be considered a mistake. So chances are that with cheaper lenses, you will actually see more lens-flares than with an expensive zeiss-prime lens.
There are some tricks to make lens-flares more apparent: You can use a rubber-band and stretch it in front of the lens horizontally - the rubber-band will be almost invisible since it's so out of focus, however, the reflected light will be caught by it and give you an almost anamorphic-looking lens-flare. For more dyi-tips and tricks concerning lenses I recommend you check out the FilmRiot Youtube channel, or the IndyMogul one. They hinted me towards the rubber-band trick for example.


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Change default audio track of Video file using ffmpeg
I have a video file with extension .mkv. It contains 2 Audio Tracks.

English
Hindi

English Audio track is the default Audio track. I am trying to set the default Audio track to Hindi because when I try to play it on my LED, it plays English Audio track as it is the default track.
I used below command to set Hindi as default Audio track.
ffmpeg -i input.mkv -map 0:1 output.mkv

But, it still keeps English as default track.
Am I missing anything?

See -disposition option as shown in Mux mkv and dts file, change default audio stream and language.

No, both did not work. Can you send me the final command?

What did you try? I can't help if you don't provide specifics.

ffmpeg -i "input.mkv" \
-map 0:0 \
-map 0:2 \
-map 0:1 \
-disposition:a:0 default \
-disposition:a:1 none \
-c copy "output.mkv"

input
use video stream (0:0)
make 2nd audio stream (Hindi) the 1st
make 1st audio stream (English) the 2nd
use the new 1st audio stream (Hindi) as default
remove the default from the new 2nd audio stream (English)
create output without transcoding

I lost several hours until I realized some players (e.g. on the web) don't support some audio formats (and the second audio track was a different format). The solution in my case was to also add -c:a <audio_format> to convert the audio format.

It is really important to use also -disposition:a:1 none, otherwise you end up having two default streams!

ffmpeg -i input -map 0:v -map 0:m:language:hin -c copy output

Above code helped me. It worked perfectly for me.