7
Frames with key_frame 1 (will have picture type I) are IDR frames.
I frames with key_frame 0 are not.
4
Don't use the Ken burns effect. Animate the transform controls, setting keyframes for scale and x/y position. By default, the keyframes will ease in and ease out, giving you a Ken Burns like effect, but you'll be able to control it more precisely.
4
What you like to accomplish is a zoom?
In that case you can just add keyframes on the position of the video within your canvas/composition.
Find the moment where you want to zoom.
Add keyframe on the scale / position
Add keyframe on end of the zoom
Set preferred value
Add keyframe one frame before zooming out
Add keyframe on that next frame.
Add keyframe at ...
4
This means although it is and I-frame, the decoder might still use/need previously sent frames for decoding. In contrast if key_frame=1 this would be an IDR-Frame (Instantaneous Decoder Refresh).
Citing from Ian E. G. Richardson's H.264 and MPEG-4 Video Compression:
An encoder sends an IDR (Instantaneous Decoder Refresh) coded picture
(made up of I- or SI-...
3
Click the layer were your made the keyframes
Press U or P to reveal the keyframes
Highlight the keyframes. You will know it's highlighted since the color of the keyframes is colored blue(see screenshot below)
CTRL + C to copy the keyframes
Move your time indicator to the next time you wanted
CTRL + V to paste the keyframe
Note: You need to properly copy the ...
3
This is a complex topic, with the exact algorithm unique to each encoder.
Below is a pseudocode explanation from a x264 developer. B-frames aren't accounted for, but basic logic should be similar.
encode current frame as (a really fast approximation of) a P-frame and an I-frame.
if ((distance from previous keyframe) > keyint) then
set IDR-frame
...
3
"I, B and P" don't refer to the viewed frames, they refer to the encoded, stored forms of the frames. However the frame is encoded in the file or stream, when it appears on the screen or is extracted as a still it is a complete frame, reconstructed from the IBP information as needed.
3
You can do it in the Effects Control window:
Even if keyframes were added on the timeline, it will work.
Good luck!
3
Since this is a still image, what you can do is use the "Rate Stretch" tool (keyboard shortcut: R) and stretch the image shorter. If the keyframes don't move with the Rate Stretch tool, you can always create a "Nested Sequence" of just the image (Premiere Pro's rough equivalent to an After Effects precomp) and then rate stretch your nested sequence. This ...
2
The first frame of a video from any codec will always be an I frame. There is no previous picture for other frame types to use as a reference.
B frames might still work. The video will start to distort ahead of the cut point, too, if any B frames are trying to reference a future frame that's not there anymore. Actually, with B frames present, display ...
2
What you want is a very long GOP or I-frame interval. I believe the ffmpeg option -g nnnn will do that, where nnnn is the length of your video in frames. I don't know how to specify "no B-frames", and this will certainly all be codec-dependent. Give it a try.
2
AVC intra and MJPEG are intra frame (keyframe) encoding only, each frame in your video will be encoded as a whole. Distance between key frames is a parameter for inter frame compression, where some pictures are encoded either as a whole (i-frames a.k.a. keyframes), and pictures between keyframes are encoded in reference to other frames either before (p-...
2
This is answered in FFmpeg's Seeking wiki page.
The behavior is expected: If the time hits to a space between 2 key frames, it copies only audio up to the next keyframe and fills the video with black.
There are some methods to get also the beginning.
One is to overlay the copied part with few seconds of re-encoded original.
Or, simply, seek to a bit ...
2
If you don't want your video to be up-scaled then you need to output at the native resolution of the screen. The physical size doesn't matter, what matters is the pixel dimensions.
However, if the footage is not shot at the native resolution (and I don't think there are many 14K cameras around) you're going to have to resize it to fit. Whether you do that ...
1
There is no way to copy-n-paste keyframes from multiple layers without using a script.
You can show the keyframes in a layer by hitting the u key. And then you can copy those keys layer by layer.
I'm not sure why you're opposed to using a script. I wrote one that can copy and paste keys from multiple layers in a single click (including copy-pasting with ...
1
Yep, just do
var p = <pick whip the property with the keyframes here>;
var k = p.nearestKey(time);
if (k.time <= time){
k.index; //key is in the past
} else {
k.index-1; //nearest key is in the future, return the previous key
}
On the first line you have to reference the property with the keyframes. The easiest way is with the pick whip (...
1
You can easily copy and paste keyframes in AfterEffects:
In any non-empty composition, select a property of any layer (e.g. position), and click the stop watch to create a keyframe at the current time.
Move the cursor/indicator to another time. Click the keyframe icon left next to the stop watch to add another keyframe.
Create as many keyframes as you like.
...
1
You may use free open source AviSynth+ — it's a scripting language with the very good documentation.
Example:
clip = AviSource("MyVideo.avi") # Reading clip from disk
clip = clip.ShowFrameNumber # Showing frame numbers of individual frames
part1 = clip.Trim( 0, 1000) # Selecting frames with numbers 0 to 1000
part2 = clip.Trim(8000, ...
1
Intra frames (I-frames, keyframes) are independent of other frames - they contain the complete information for reconstructing the frame's image. There is no need for reading other frames and computing from them.
So it's about a speed, not about a quality. On the other hand, more intra frames, grater size of the file. (Known tradeoff speed for space.)
Intra ...
1
I don't believe there is a shortcut for this.
Here are a couple of 'near alternatives' that might help:
1. The keyframe navigator arrows on the property will jump you from one keyframe to the next on that property alone.
2. Drag the playhead while holding shift to snap to keyframes.
1
Since bandwidth is fixed, first step to maximize quality is to full use that bandwidth so bitrate should be set to that number.
Frame rate will make a modest difference, once a fixed bitrate is specified, since typically x264 places keyframes 250 frames apart and so all or most frames in a random second are delta frames, so leave that between 24 to 30.
For ...
1
When I do an insert edit (using the shortcut '.' key) in CC 2018, I do not see this problem.
Make sure the Source Patching on the audio tracks is selected correctly, otherwise the audio tracks won't move when you do the insert? Apologies if this is teaching you to suck eggs - maybe a screen recording would better demo what's going wrong?
Before insert ...
1
Audio codecs like AAC or MP3 have a priming sample before the first audio sample. The priming sample has a negative timestamp. For a 48 kHz stream, the timestamp will be -1024/48000 s = -0.0213s. What the concat demuxer does is add an offset to the timestamps of all files after the first one. The priming sample created in step 2 is affecting the timestamp ...
1
Try this:
Parent the atom to the ring or a null in the center
Rotate the ring/null which will rotate the electron around the middle
Apply an expression to the rotation property of the electron layer
Rotation Expression:
parent.transform.rotation * -1
This simple expression will rotate the electron in the opposite direction from its parent (...
1
You can choose which frame of footage is shown by enabling Time Remapping for the layer. Find it in the layer menu, or by right-clicking a layer in the timeline, or by using ctrl / ⌘alt / ⌥t
Turn it on for a layer and the displayed time is set by the value of the Time Remap property, which can be keyframed or controlled with expressions. Once you've applied ...
1
Not from within premiere. You would need to do that in AfterEffects.
AfterEffects is better suited to do animation regardless. Once you've set up your compositions, you can then import them directly into premiere and lay them into a sequence using Bridge.
This way you can easily jump back and forth between AE and PPro and any changes made to your AE Comp ...
1
This is the expected behaviour. It's a bit confusing, but as you can see in your screenshot, the Temporal Interpolation context menu is split in two parts. The part above the seperating line (see your screenshot) sets the keyframe type. From the documentation:
Linear: Creates a uniform rate of change between keyframes.
Bezier: Lets you manually ...
1
Duplicate your composition twice. Let's call these 1, 2 and 3
In 2, replace the embedded clip layer with 3. With Alt held down and the embedded clip layer being selected, drag 3 on top of it. In 1, replace its embedded clip layer with 2.
I assume that the dimensions of the source clip and the composition are the same, else some transformation will be ...
1
Another trick is:
copy the clip with the keyframes (Ctrl/Cmdc),
delete the keyframes,
make your adjustments to the timing of the clip,
and then paste the attributes back on to the re-timed clip (right-click the clip and from the context menu choose Paste Attributes…, or go to the menu Edit > Paste Attributes… or hit Ctrl/CmdAltv).
Make sure that Scale ...
1
I think you need to use the Rotobrush rotoscope tool in AE.. Good luck! It will take a while...
Tutorial link:
https://library.creativecow.net/harrington_richard/after-effects-cs5-roto/1
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