Other answers here are only working with the "known" meta keys, for custom/arbitrary meta keys, "-map_metadata 0" is not sufficient to keep them all.
In my transcoder project, a lot of camera makers like to inject custom meta keys in the MP4/MOV container, and I want to keep them in the transcoded MP4/MOV files. After a lot of head scratching, ffmpeg do ...
PAL and NTSC have different color primaries, so
NTSC = SMPTE 170M = BT 601 525
PAL = BT 470 BG = BT 601 625
See the rows for value 5 & 6 on the table on page 387 of the active H.264 standard.
So the right args for ffmpeg are:
ffmpeg -i input \
-colorspace smpte170m -color_primaries smpte170m -color_trc smpte170m
tracks show two different sampling rates. (...) Can anyone explain what this means? I always thought one audio track can only have one sampling rate. Is this just a different way of describing one sampling rate?
MediaInfo reports what is played by a decoder, depending of its capabilities:
- if your decoder is able to play an HE-AAC stream, the stream will ...
The -metadata option is for manipulating the metadata. If you just want to copy the metadata from an input file to an ouput file, you should use the -map_metadata option:
ffmpeg -i a.MOV -map_metadata 0 -c copy c.MOV
The file specifier is a zero-indexed number, so '0' takes the metadata from the first input file.
FFmpeg, by default, makes all metadata from the first input file available, to the output file muxer, for writing. -map_metadata allows to override that, by either pointing to a different input, or by telling ffmpeg to discard input global metadata (value of -1).
However, which of the available metadata, is actually written to the output file, depends on ...
Streaming formats maintain timestamps for each frame, whether audio or video, which govern when the player ought to present them. Those non-zero big start times usually occur when a snippet is cut out from a longer video and the tool used does not reset the timestamps. Although if this FLV was recorded on its own, then it's strange.
In any case, running the ...
The data are stored within the file disregarding of the .mp4 file standard.
the chunk containing those per frame data starts with: #¿Ttlyd or 23C05474 6C7964in hex
Each frame has 36 bytes of data, those seem to be 9 floats of normalized (from -1 to 1) numbers
Those numbers seem to be a 3x3 matrix representing the current coordinate system for this frame.
Containers don't support encryption of metadata, and without encryption everyone may change what he wants (even damaging by his action the whole multimedia file).
There is a possibility to make a checksum of your file (as SHA-256), but it will not protect to change it, it only helps detect if the file is in its original state (not changed).
None of the editing tools I know of uses any files other than MTS/M2TS. Supposedly, these CPI files can be used by a Blu-ray player when it plays the content of a card - which is why the structure of AVCHD media resembles the structure of Blu-ray media - but I never play raw videos from my cards.
I preserve MTS/M2TS files only and throw away everything else....
I don't know of any sports video shot logging tools designed for personal use. Most are part of MAM systems. This site compares logging tools for cinematic production, but you can extrapolate from that. Both Adobe Premiere and Prelude include logging tools that let you set ratings and enter comments. You can use subclipping and bins to replicate the category ...
I haven't found a way to have ffmpeg preserve the data. But I've found that for my needs I wanted the exif metadata and the exiftool was a convenient solution.
You can copy metadata between video files: https://unix.stackexchange.com/a/492338/83370
There's a trick to copy all metadata using the option -all:all>all:all:
There is a madv box in the udta atom that is not normally seen in MP4s
type:'madv' parent:'udta' sz: 3145728 115 3145835
It has sufficient size for it to be a candidate.
This is a dump of the first ~350 bytes
madv: s= 3145728 (0x00300000), o= 1950821 (0x001dc465)
000000 00 00 00 ac 63 75 74 6c 00 00 00 00 00 00 00 00 |....cutl........|
If the data was recorded by the camera as EXIF MetaData, Adobe Bridge would reveal the camera settings under the Metadata Panel. You may have to customize within Bridge WHICH metadata you want to look at; because there are literally hundreds, thousands, of types of EXIF data; which could or could not have been embedded; AND at times; you will find what you ...
FFmpeg only allows you to alter/override the major brand, not the minor.
ffmpeg -i input -ss 00:00:05 -t 100 -brand mp42 -c:v copy -c:a copy output
MP4box will allow you to override both.
mp4box -brand mp42:0 file.mp4
If you want to change the handler name as well, use
mp4box -brand mp42:0 -name 2="IsoMedia File Produce by Google" file.mp4
I suspect that your MediaInfo parser is mis-reporting. Sampling rates are usually described both in terms of frequency and bit depth. It is quite common to have 48kHz at 24 bits. I suspect that whoever wrote the printf statements producing the above output meant to say "bits" not "KHz" after the "/".