I work as an assistant editor on feature films, and use ffmpeg all the time, primarily for two purposes:
Transcoding files to be uploaded for producers to view on digital dailies systems (Dax, PIX, etc). I've written up shell scripts that accept property-of and recipient strings as command line input, along with target bitrate, and then generate the desired ...
FFmpeg is probably being used more than you believe. I think the BBC uses it for some workflows, there is evidence that Laika and Weta may use it, and there is a fork called FFmbc which is targeted for professional broadcast usage.
YouTube probably uses FFmpeg to decode as shown by some unique decoding issues (but this was several years ago that I read ...
Production codecs with alpha channel support
Apple ProRes 4444 / Apple ProRes 4444 XQ
From the Manual:
Apple ProRes 4444 and Apple ProRes 4444 XQ are ideal for the exchange of motion graphics media because they are virtually lossless. They are also the only Apple ProRes codecs that support alpha channels.
Cutting a video at a keyframe, without the slow and lossy process of decoding and re-encoding it, is only possible in the special case where you aren't applying any effects, overlays, rescaling, or anything. And where you're happy with bitrate and decoder requirements of the input. (e.g. h.264 High Profile, Level 4.0)
Perhaps fancier editting software ...
Update: The VLC TS is malformed.
ffmpeg -i vlc-output.ts -c copy ffmpeg-output.ts
ffmpeg -i ffmpeg-output.ts -c copy working.mp4
The main thing that looks off is the timebase 1000k tbn.
ffmpeg -i vlc-output.ts -c copy -video_track_timescale 90k car-free\ tourism.mp4
I use it in my professional production chain all the time. Last week I was using it to batch through dozens of videos that needed subtitles burnt-in. It would have taken me weeks of tedious labour with Final Cut, it took me a couple of minutes burning the srts in with ffmpeg, and I was able to automatically rename the files and compress them for the various ...
The main reason is support, usability and control. First, lets clarify that FFMPEG is an encoder, QuickTime Pro is a video utility that happens to include multiple encoders and Final Cut Pro is a non-linear editor and has nothing to do with encoders other than the fact it can output to an encoder (generally QuickTime I believe).
For big budget commercial ...
By default, ffmpeg treats image sequence and raw video inputs as having a native rate of 25 fps unless told otherwise. So, the -r 50 duplicates each frame.
ffmpeg -framerate 50 -i imageSeq-%06d.png -vcodec png -pix_fmt rgb32 -y video.mov
You can skip the -r 50 since ffmpeg will use the input's framerate.
You can also use qtfaststart -l fileName which outputs something more human readable like :
$ qtfaststart -l myFile.mp4
ftyp (32 bytes)
free (8 bytes)
mdat (283805466 bytes)
moov (3541465 bytes)
The Python qtfaststart is different from the qt-faststart binary (bundled with ffmpeg) and can be installed using this command:
sudo -H $(which pip) install ...
That's way more than h.264 can handle. The maximum resolution for h.264 is 4096×2304 with Level 5.1 or 5.2.
There are lossless codecs who can theoretically handle this video resolution but it would make no sense to do this. There is no hardware capable of playing videos in this resolution at any acceptable frame ...
I can recommend Adapter.
It is a Wrapper for the ffmpeg package and does its job pretty well. Because of its easy UI.
You could also use ffmpeg directly via macports, but I think that Adapter is far easier to control.
MPEG-2 doesn't seem to be an officially sanctioned codec for the Quicktime container. The official specification has a section related to MPEG-1 in MOV but not MPEG-2. The US Library of Congress also does not have an entry for the subtype MPEG-2 in MOV, like it does for MPEG-1 (just called QTV_MPEG).
So, there's no official word on "allowable alternative ...
The good news is I didn't just overlook something. Transcoding .WMV to .MOV is a real problem. The bad news is that it cost me $29 to solve it. I purchased the "Player Pro" license for Flip4Mac by Telestream after reading this support article by Apple.
You can use MP4Box 0.6.2-DEV-rev453 (May 2016) or higher to do this:
mp4box -add alfa.mp4 -add bravo.srt:txtflags=0xC0000000 -new charlie.mp4
This will mark the subtitle stream in the output file as forced.
However, this mark will only be recognized starting with these versions of
MPC-HC 22.214.171.124 (May 2016)
VLC media player 3.0.0-...
You will have to re-encode or use a tool to change your h264 level, f.e. this one http://coolsoft.altervista.org/en/h264leveleditor but its windows only, there might also be a Mac tool that does the same. Your video is encoded with High Profile Level 4.1. iOS only support Level 3.1 and probably the same with QuickTime on Yosemite.
.MOV is a container format, not a video format. As such it can contain media in any number of 'tracks' of audio, video, subtitles etc. In particular, video tracks may use any supported codec, not just Apple-specific ones. It's very common to see H264 encoded video in a MOV file, and H264 is widely supported on Apple, Windows and Linux platforms.
So if you ...
Your source is variable frame-rate with a peak rate of 120 and an average rate of close to 60. Editors tend to want constant frame rate streams. If you can interpret your whole transcoded file as 120 fps, then you should get the expected result. Alternatively, you can preserve the original variable frame rate,
ffmpeg -i test-source.mov -vsync vfr test-...
Recording full screen, if your hardware allows you to do it smoothly, is your best option. You can always crop or mask out unwanted areas later in editing. You won't have that freedom if you crop the input at the time of recording. An exception to this rule of thumb can be made if you're absolutely sure that the area of interest is a portion of the screen at ...
Exporting to H264 will always introduce a slight colour shift due to a gamma tag in the file header. At least, I didn't find any solution to export without a gamma shift. Neither in AE nor in any other video editing program.
Maybe also have a look at this answer: https://video.stackexchange.com/a/10336/11423
I have this issue forever...found a solution thanks to this website
download his luts aplly the correct lut to an adjustment layer placed on top of you project (in my case convert mrec 709 g2.4 to sRGB g2.2) and then you get to see what you get as output, but inside the project viewer, so you can grade correctly.
You may need to perform a “trim pass” to export to Rec709 colour space.
Matching colors in Rec. 2020 and Rec. 709 masters
When some colors are translated to the narrower gamut of Rec. 709, they may look
different. To ensure that the Rec. 2020 master and Rec. 709 submaster look similar, ...
What's happening here is two things:
1)your video is portrait but stored as a landscape matrix and ffmpeg is applying autorotate so that all players natively display it in what ffmpeg thinks is the correct orientation.
2) the video has a PAL DV aspect ratio of ~1.09, so after the autorotation and aspect ratio correction, 568 x 320 is autorotated to 320 x ...
I've now solved this problem. I was using Export > Movie, when I needed to go to Adobe Media Encoder to find more extensive options. I kept most settings the same, but believe turning 'Bitrate' off may have decreased the data rate. I got the filesize down to around 120mb, which is much better.
This video helped me find the Adobe Media Encoder.
If the pixelation wasn't in the sources you had, then it was probably introduced by the video encoder you used to export. (Presumably Apple's h.264 encoder, creating a .mov with an h.264 video stream, as opposed to one of the many other video codecs that the mov container can hold.)
Video encoding always trades off CPU time vs. bitrate vs. quality. Using ...
Only Prores 4444 supports alpha channels, see the manual:
The Apple ProRes 4444 codec offers the utmost possible quality for
4:4:4 sources and for workflows involving alpha channels.
It seems to work for me, using the Animation codec with "Millions of Colors+". I'm on a Mac using Adobe CC. Here are the steps I took:
Export your AE comp using Quicktime ...
The Media Atom object does not have a Flags field, but the Media Header Atoms does:
Flags - Three bytes of space for future movie header flags.
In which case it's basically say, these values are reserved for future use, and presently are just byte alignment packing.
In most RFC's these area's are called Reserved as compared to flags.
This would explain ...