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Shotcut audio editing3/2/2024 ![]() If you want a command-line alternative to speed up your workflow, FFmpeg can do this as well.Get the release candidate version 23.04.20 HERE Qt 6 But none of the remux tools I’m aware of have the advanced suite of audio filters and meters that Shotcut offers. Yes, it’s a separate tool and an extra step. This operation is called a “remux”, because it swaps streams around without actually re-encoding them. Then use AVIdemux (a separate program) to replace the source video’s audio track with the new audio file exported from Shotcut. The export will be very fast since no video is encoded. Or you can customize your own and check the “Disable video” checkbox on the codec tab of Advanced Export. Since this is movie-based, the audio format is probably AC-3 at 448kbps. Then export just the audio to a new file. One option is to bring the movie into Shotcut and use its filters and meters to improve the audio to your taste. But for anything beyond this, passthru offers minimal benefit because Shotcut has encoding options for visually lossless and truly lossless output, which is basically as good as passthru but without any limitations during editing. Shotcut has an Extract Subclip feature that in essence provides passthru trimming. These are extreme limitations, to the point a user can’t even edit in what is supposed to be an editor. The whole GOP would need to be encoded, which leads to those strobing issues again. As described above, we can’t encode just the fade-out portion and overwrite the source in the middle of a GOP. ![]() That means no fade outs, no filters, no speed ramping, and no mixing multiple audio clips, because that would generate new material that requires encoding instead of passthru. The limitation above is further limited by the fact that no media can be manipulated at all. Likewise, a lot of music is MP3, but a common output format of camera audio is AAC, meaning music couldn’t be interleaved with the speech picked up by a camera mic since they aren’t the same codec. Neither could any media clip change frame rate or resolution or any other property. ![]() It would not be possible to mix H.264 and AV1 videos on the same timeline because the codec cannot change format midstream in the output file. If the source video was encoded using a model of GPU that you don’t own, it could be impossible to match, as other GPUs and the software encoder will have a different look.Īlso regarding codecs, passthru would require all media to be of the same format. So matching the source quality would be extremely difficult. However, there is no way to reverse-engineer the codec parameters used by the source video. Strobing is when the quality level visually appears to jump from good to bad to good, which in this case would happen at the cut points. When it is time to encode, the codec parameters for any non-passthru material must precisely match the parameters used for the passthru material to avoid “quality strobing” in the final video. For videos with really long GOP, those keyframes might be 10 seconds apart or more, which is severely limiting to the user’s artistic vision. Passthru would require that start points for trimming must align with keyframes in the source video. ![]() One of the technical reasons for not supporting passthru is that it would place many restrictions on the user that they wouldn’t like.
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