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Just in case, you want to copy the files afterwards somewhere: You could convert the project to a team project, if not already and use Edit->Team Project...-> Media Management to copy all files to a shared storage. But for a plain list you best go to File->Export -> Final Cut Pro XML. Make sure you haven't selected any clip in Media browser, ...


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Yes, it is somewhat like a motion tracking, just open your file in AE and then create a null object and track the motion of that video and save the data to the null object, and then parent your video file to the null object.


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Since you are talking about video, i would consider the ffmpeg audio filter. The wind noise spectrum mentions in this product white-paper is below 500hz; therefore, i would suggest the ffmpeg command as ffmpeg -i <input_file> -af "highpass=f=500" <output_file> Good luck!


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Two possible ideas. When writing this answering I'm thinking in terms of the capabilities provided by Audacity but I think the same concept will work with other software. Pick a silent part of the video with only the wind sound but no other sounds that you would like to keep, select that as the noise profile then apply noise reduction whenever there is the ...


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Zoom in. Hm, thirty more characters to go.


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In the newer Premiere versions doesnt happen - you might get a waveform visible even with more nested layers inside - BUT the point is NOT TO HAVE ANY EFFECTS APPLIED ON THEM. In this case you have to render and that makes sense. Apply effects only on the whole nested sequnces. cheers


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I don’t think there’s a way round it. Premiere can operate using CPU only.


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To minimise the file size for distribution of something like this, you need a Variable Frame Rate encoder, which will effectively just encode 1 frame, and set the frame rate such that there's no further frames. I've not seen this available in Adobe (or any commercial product I've looked into), but definitely there are services I've seen encoding video this ...


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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.


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What you are looking for are lossless codecs. Export with the exact same settings that your footage was recorded in, but use a codec such as Prores4444xq or DNxHD, with no subsampling and 16 bit video-depth.


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You could try using the Repetile effect in After Effects. This extends and repeats a layer based on certain rules - in this case I'd try unfolding or flipping it, so you see a mirror of what was on the other side. Maybe do a gradual blur around the whole frame too, so it is less noticeable. Florian's answers are likely to give better results but take more ...


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Without seeing the tutorial, it's difficult to say exactly, but I think what is happening is that the colour matte nest that you've created, is being used to control the blur on your other layer, probably by being set to being used as an "alpha matte". If your colour matte layer wasn't nested, I think Premiere wouldn't be able to see the alpha ...


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It is possible to take a similar approach like you would in photoshop. I recommend using After-Effects, as premiere doesn't really have the abilities to do so effectively. In After-Effects, you can try out the "content aware fill" that was introduced in 2020, I believe. However, content awareness only works in some cases, and when trying to ...


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Yes, you need to work with two video tracks, use the crop and scale effect. Create a sequence from your clip. Apply the crop effect and set it to left: 50% Locate the scale settings under the always present motion effect Disable uniform scaling and set scale width to whatever you like Add the clip again as a new track on top Apply the crop effect on this ...


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I think this is happening because you do not have enough material in one of your two clips to make a crossfade between your two clips. Try overlapping the clips further, then applying a crossfade, and see if this fixes it, or make the duration of your crossfade shorter.


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I think you’ve probably identified the cause. I’ve found when using mobile phone footage (And video conference captures) both premiere and after effects can incorrectly identify frame rates. If all the footage is around 59.93-60fps, I would try transcoding it all to 60fps first using a codec suitable for editing (like ProRes), making sure it’s all in sync ...


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