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MERGING VIDEO CLIPS To combine video clips there is something called Nested Sequence. A very powerful technique. When adding clips to a timeline you are working in what is called a sequence (normally named Sequence 01), drop your two clips into your timeline and rename your sequence 01 to something like 'My day trip to the market'. Select a different ...


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Now I can't figure out how to extend the length of clip since it is referring to after effects comp which is only 4 screenshots...:( Also thanks to whoever sent this to Stack Exchange video production forum. Now i know where to ask after effects/ premiere Qs.


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I ended up replacing the video clip with a after effects composition. then i added the picture to the clipping after effects and it was there in premiere as one clip.


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Most screen capture applications are pulling video from the video card down to main memory to compress it and write it to disk. Most video games are uploading textures and geometry to the video card to display it to you. It's possible to get into a situation where more memory is needed on the card to run the game and record the video than you have available. ...


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Starting with Adobe CC, Adobe removed a program from their Premiere suite called Encore. Encore had all the same benefits of Dynamic Link - you didn't need to render your project, just add your project file, and boom - transcoded to DVD in one step, without an intermediate. Now, for CC users, you still have a licence for CS6, and can downloaded Encore ...


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This has come up before for other codecs / containers. This DOESN'T work in ffmpeg without transcoding, since ffmpeg unfortunately isn't set up for messing with timestamps on non-decoded frames. I think you should be able to do it with this (untested): mkvmerge --default-duration 0:30fps in.webm -o out.webm Where 0 is the track-id of the video track. ...


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The VFX breakdown is right in the link in the video that you provide. They break it down for you in the youtube video. Its masking, feathering, desaturation or levels adjustment. If ...


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I know for a fact GoPro gets its music from extrememusic.com, and I personally use Night3x from youtube for electronic music, and RFGB for orchestral music. AudioJungle offers some great services to. Another source is CC-Mixter, straight from the creative commons, but I myself do not think that the library present is too good. If you are looking for audio ...


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FFMPEG doesn't really have the tools to do motion detection out of the box. You can certainly do the cropping using the crop filter: -vf crop=w:h:x:y where w:h is the size of your cropped area and x:y its coordinates in the original image. So your ffmpeg script might look like: ffmpeg -i input.avi -c:v libx264 -crf 20 -vf crop=123:45:67:89 output.mp4 Then ...


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My favorites: Premiumbeat AudioJungle


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This sounds like an opinion-based "list" question, so it will probably get blocked in a while. But for now I can say I've used AudioMicro.com and like a lot of their music. I hear good things about incompetech.com. You can also just Google "royalty-free music sites" and you'll find several, each with different terms and prices.


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A/V sync problems are noticeable at about +/- 0.1 sec. The samplerate clock in your phone and camera would have to be exactly the same speed to within 0.1 sec over 10 mins, or however long your clips are, for you to be able align at only one point. 0.1 / (10 * 60) = .0001. That's about 1 part in 10k. Wikipedia says quartz clocks are often as good as 6 ...


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You can do it with Lightboard: http://laughingsquid.com/ingenious-dry-erase-glass-lightboard-for-video-lectures-allows-presenter-to-face-camera-while-writing/


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Short answer: Yes. This machine is sufficient in all aspects. You will certainly benefit from the i7-CPU and the additional SSD, the available RAM. Also you'll have access to graphic acceleration using the CUDA technology of the NVIDIA GPU, which will greatly reduce the time required for rendering.


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For some reason the default subtitle colour often seems to be yellow; I can't find any definitive reason why though. I hate yellow subtitles with a passion, they always look hideous and distracting, so I always make mine white. To separate them from light coloured backgrounds I use a soft black drop shadow if possible, or otherwise a black border. As you can ...


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All the main editing packages have lens flare as an option, so this is incredibly easy in post. To do it live is less controllable, but is still simple - in fact avoiding lens flare is one of the challenges, as many lens configurations give unpleasant flare when shooting anywhere near the sun.


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To elaborate a little further on what Peter says, in general using multiple processors helps in cases where you have several independent tasks that all need to be done but don't have dependencies on each other, or one task where you're performing the same math on massive amounts of data. If, however, you need to the output of calculation A as the input of ...


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The article you linked is not very good. Normally, single pass bitrate encodings convert your bitrate into a RF value with a maximum bitrate limit and takes it from there. x264's one-pass ABR ratecontrol is not implemented as CRF + limit. He's right that 2pass is by far the best way to hit a target bitrate, though. And he apparently doesn't ...


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I haven't ever done exactly what you're trying to do, but I think I know how I could do it. Hopefully this answer is useful, or at least starts some discussion from people that do have more concrete experience. One of the important factors in your choice is going to be buying something that someone knows how to admin. I think you'd be fine with a ...


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After Effects is a good, reasonably priced solution. If you're not on a tight schedule and on a tight budget, The Foundry is releasing a noncommercial version of their Nuke compositing platform, which is much more powerful than After Effects, sometime soon.


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After Effects could certainly do what you want, as could Apple Motion (only for Macs though). If you're on a budget you might want to look at something lower cost - or free: Natron is an open source free compositor, that will be able to do that effect Blender - as well as being a 3D animation package it has a compositor too compositing is the technique ...


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Sounds like thoses apps aren't respecting the Pixel Aspect Ratio (PAR) flag. Widescreen DVD movies aren't usually made of more pixels, they have a setting in the metadata telling the player to stretch the pixels from squares into rectangles to make the picture look right. VLC is reading the PAR flag and playing the pixels back in their correct aspect ...


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Lossless requires such high bitrates that I have more trouble playing back lossless video than 5Mib/s lossy h.264, on my C2Duo (first gen) E6600, 2.4GHz. lossy 5Mib/s 1080p h.264 at 24fps plays perfectly without even having to use mplayer's -lavdopts threads=2 option. (single-threaded software decoding is enough.) My system isn't fast enough to play ...


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Apparently Youtube took some extra time to process the HD. Both are showing in HD now.


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Like others have said, just load your video in anything and play with the brightness effects. Even a gamma curve could do the trick. Or save a frame of the video where you can see anything at all, and play with that in a still-image program like imview, and play with the brightness / contrast / gamma to see if there's anything still there worth looking at. ...


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In the special case of jpeg input, you can do it losslessly by just muxing the data into an MJPEG stream, saving huge amounts of CPU time. ffmpeg: how to losslessly encode many jpg images to a video? You're probably doing some kind of video editting on the results, so don't skimp on the quality of the files you make. Prob. best to use lossless x264 ...


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To expand on LordNeckbeard's answer, yes, just mux the JPEG data into an MJPEG video stream. That will be the smallest representation of the exact sequence of output images, even though MJPEG is a terribly inefficient codec by today's standards. (no temporal redundancy, and not even any intra prediction. You can make a variable-framerate MJPEG video to ...


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It takes a lot of bits to accurately, or nearly-accurately reproduce the input pixels, regardless of what they contain. The only exception is low-complexity stuff like a screen capture or animation, where big areas are EXACTLY the same colour, and/or at bit-for-bit identical from frame to frame. The difference between your intuition and real life comes ...


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When you're talking about manually extracting a matte, you really should be looking at "rotoscoping" software, and not limiting yourself to chroma keying. Mocha is built into after effects and is a good tool for this purpose, but if your machine's too old to run it, you should research whatever rotoscoping software was state of the art when your computer ...


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No you wont be faster, but you could use a different method. As in a different application. Really it comes down to what your bottleneck is. If the bottleneck is the interplay between you and the computer then sure. What you can do is expand the video to frames as a prepass. This takes time but is essentially unsupervised. Likewise you could preprocess the ...


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Genlock would allow the capture of frames to be synchronized to a common external timecode. It is only a feature on pretty high end cameras, so if you are trying to keep costs down, it really isn't an option. The other question I linked to in the comment goes over a few possible ways to try to get usable sync for multiple cameras, but sadly, there aren't ...


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No, you couldn't do it faster than the software does it. The software, if it is any good at all, should be much faster than you could possibly do it. That's why people use the software. If the software runs slow, then the same steps would be needed in your manual process and the manual process (whatever that is supposed to mean) would also be just as ...


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Just about everything you'd like to know about LaserVision disks can be found in this Wikipedia page, including the details of how the composite analog video is stored in a series of pits and lands. Of course it's not strictly analog because it's sampled and later re-integrated, but there is no digitization of the video as we think of it today with Blu-Ray ...


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There are three main reasons that still cameras with video functionality have restrictions on the length of video they will shoot. The first and most common, as tomh pointed out is tax purposes. The European Union charges a 5% tax on any video recording device and sets the limit at any device capable of recording 30 minutes or more of video. To avoid this ...


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Some cameras had an arbitrary recording time limit in order to avoid being classified as video cameras for tax purposes.


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Video heads need to provide for very smooth and controlled panning, and thus are a bit complex. I somewhat doubt you can accomplish your goal in budget as the cheapest fluid head on B&H is $45 and the cheapest brand I recognized is $85, just for the head. That's to say nothing of the cost of a light, compact and sturdy set of tripod legs. Certainly it ...


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In video terms, aperture is often called iris as well and particularly in live video, it is fairly common to adjust the aperture to adjust light sensitivity. For both live and post produced video, it is also relatively common to use lenses with smoother apertures. Most photo lenses have apertures that click in to set values, but video lenses will sometimes ...


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This feature is called "motion detection" in the video surveillance jargon and can be found on most IP cameras and NVRs. There is a large variety of solutions out there depending on the level of accuracy that you need, the ability to divide the monitored perimeter into zones, whether the analytics run off a live or recorded feed, the OS that you use, and ...


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I assume you have multiple inputs and want some kind of automatic editing that will switch which feed is live based on what has activity at the time. Unfortunately, pure changes in pixel values aren't really a super ideal way to tell what is interesting. There are systems which handle automatic selection of the speaker such as Microsoft's RoundTable system ...


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This will output a lossless H.264 video where frames will use information from other frames ffmpeg -f image2 -r 30 -i %09d.jpg -vcodec libx264 -profile:v high444 -refs 16 -crf 0 -preset ultrafast a.mp4 Explanation of options: -f image2 - tells ffmpeg to select a group of images -r 30 - tells ffmpeg to encode at 30 frames (or images) per second (change ...


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If they are MOVs, the first thing I would do is find a computer with Quicktime correctly installed, to see whether they play on there. If they do, it could be a codec issue on your machine. Any Mac with Final Cut installed should do it.



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