Due to the company policy I am working for, I won’t post a new article or a comment anymore. You are welcome to use the web site and I keep doing maintenance work (killing spam, approving comments, etc). I am sorry for not responding to comments in these days.

Thank you for visiting.



3 Responses to About

  1. Naveed says:

    Thank you Motonari. This is so helpful document.

  2. Dirk Newsome says:

    I am reaching out to see if hardware/software is available that takes DTMF tones and converts/interpretes them into HLS metadata events?

  3. Hello:

    Can you please suggest a website or other reading reference for an amateur video editor (me) to learn what maintains (or fails to maintain) ‘sync’ between audio and & video in .mov and .mp4 video produced by ‘low end’ DSC cameras with 1280×720 HD capability. They don’t use the term H.264 but it appears as an option in various post-processing software.

    The context for this question is extracting in-camera audio, save the original video without audio, post-process the audio ‘track’, and ‘re-mux’ the two ‘streams’ back together. Alternately, I have recorded audio externally from the camera and attempt to replace the in-camera audio with the asynchronously recorded audio.

    I use a variety of programs base on what I have found will do what I am trying to do.

    The success in retaining synch between video and audio varies with the methods I use…at least I recognize that much, and I have never successfully done this with the ‘externally recorded’ audio.

    The types of failures experienced revealed some distinct traits that suggest to me I have something other than slight clock differences.

    I suspect there are features present or absent that are or are not used properly, or ‘broken’ by the variations in tools I use.

    I believe I can identify a method with a particular set of software tools that works for me, as well as two methods that lose sync to different degrees (one does not alter the length of the remuxed result, and the other produces a result with a disturbing increase in time length: a 36 second video became 45 seconds after remuxing!)

    The problem with simply accepting and using the only method that works predictably is that it is very restrictive.

    I have tried posting questions on the forums of some of the software packages and the experimental nature with amateur equipment and my choice of very eclectic software tools eliminates relevance to most other people. Most users change equipment or software to follow some standardized workflow, and have no need to understand why something fails.

    So, I attempt to understand what I need to do or not do in the multi-step process to identify and hopefully eliminate the failure mode.

    Even if I cannot fix the problem due to limitations in the camera hardware or encoding options I use, I think understanding the problem will be very helpful. If nothing else, I may learn what I should give up attempting.

    Since the separate audio method sync failure is still defying my analysis and problem-solving skills, I have replaced the internal camera microphone with an XLR adaptor to use external microphones to improve the in-camera recorded audio in the .mov file.

    I have (believe it or not) excluded many details in an attempt to abbreviate this.

    Thank you for reading and considering the possibility of advice.

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