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Actually yeah, that is good news!

This particular glitch is a keyframe getting missed on playback, which is often caused by the video being outright corrupted with missing data.

But if it's skipping in Premiere but not VLC, then it's probably fixable and very possibly the result of variable framerate media. Is this a screen recording by any chance?

Anyway the fix should be pretty straightforward, you just need to transcode it.

Simplest way to do that is by using Shutter Encoder to either ProRes or h.264.

Shutter Encoder uses the same codecs as VLC (via FFmpeg) so if VLC can play it, Shutter can transcode it.

If i remember well resolve on linux can't import videos with a codec of h.264/h.265

Try to transcode them to an editing codec like DNxHD with a software like shutter encoder and then try again.

FFmpeg is the tool for this, but if you don't want to mess around with system path variables, command line, and shell scripts, you can use Shutter Encoder to run FFmpeg commands in bulk.

Add all the files to the list, then where it says 'output 1' click 'change' and set an output directory (so you don't mix the new files up with the old ones.)

Paste the following command into the 'function' box (it's an editable text box):

ffmpeg -ss 00:00:06 -c:v libx264 -cq 24 -c:a aac -b:a 192k -c:s copy -map 0

And set Ext/Filter to .mp4 and click 'start function.'

This process may result in the files being a bit larger than they were to start with.

You could also try:

ffmpeg -ss 00:00:06 -c copy -map 0

however it will end up with not exactly 6 seconds getting trimmed off the video, so on some videos some of the noise you're trying to remove may still be there.

Xbox game bar does weird stuff with resolution in the video file, Premiere doesn't like it and thinks the resolution is higher than the video actually is (basically.)

You need to transcode the footage before you import. Use Shutter Encoder, transcode to ProRes 422 or h.264 if you're short of space and replace the clips in your project with the transcodes.

Xbox game bar footage is also variable framerate which can cause issues, and since the fix to that is transcoding as well you get two birds with one stone ;-)

Judging by the filename, I'm guessing your working with OBS or Shadowplay recordings?

Screen recordings are almost always variable framerate, which causes a huge number of issues in Premiere, one of which is extremely slow or failing exports.

Grab Shutter Encoder and convert all the footage you're using to either ProRes or h.264, then replace the media in your project.

I'd bet on VFR being the cause of this issue, but another cause for stuck exports is running out of free space on your media cache/boot drive, espevially if you're exporting a very long video.

Premiere preferences > Audio Hardware > Input device > Set to 'no input'

(Your footage is also VFR so it would be a really good idea to transcode it to h.264 or prores in Shutter Encoder before importing to Premiere.)

This is a known bug specifically with Varicam footage for some reason.

First off try updating Premiere just incase they've staged the fix within the last week.

Otherwise your options (other than waiting for the fix to be rolled into the main release) are:

Use Premiere 2020 for this edit.

Or use Premiere Beta where the issue is apparently fixed (wouldn't recommend for actual projects!)

Or rewrap the video files and transcode the audio. You could use Shutter Encoder for this in the 'rewrap' function with 'filter' set to MXF. Then under 'Audio settings' select 'convert' and try 'PCM 32bit' which should be totally lossless. This may break the Panasonic video format which could mean you have problems with metadata later on if that's something you require in your workflows.

Footage from a DJI drone by any chance?

If that's what you've got, use Shutter Encoder to convert the offending clips to ProRes, and replace them in your project.

If that's your problem, this could be a symptom of the SD card in your drone not being fast enough or underperforming. The newer DJI drones apparently swap to variable framerate in the event they can't write data fast enough to the card, and the resulting VFR footage causes this kind of issue with Premiere.

When you're exporting it, you're transcoding the video to a new bitrate.

So if you want the filesize to be the same, you need to reduce the export bitrate to match whatever the OG file is - but this will reduce the quality.

But there's a better solution for this!

Export just the audio from your editor, then use Shutter Encoder's 'replace audio' function to combine the new audio with the OG video.

The filesize will be pretty much the same, and the video quality won't be affected at all.

I'm going to use my psychic media format detection power and guess that the drone is a recent DJI model?

If it is, your problem is variable framerate media. Grab Shutter Encoder, transcode the source clips to ProRes, and replace the footage in your project.

You might want to double check/test the SD cards that you're using on the drone, as when this has come up before (and it has a lot in /r/premiere!) a DJI user chimed in and suggested the cause was the SD cards not being fast enough to cope with the recording, so the drone drops the framerate to prevent the recording from cutting out.

Other posters are close...

This isn't strictly a variable framerate issue - although your footage probably is variable framerate, and you'll be solving that problem at the same time by fixing it!

Some game recorders, most notably Xbox Game Bar and Razer Cortex, do a weird thing with the video resolution that doesn't play well with Premiere.

Basically they record at a higher resolution than you think, then add a flag in the file to tell whatever is playing it back to scale the video to the actual size it's supposed to be. Premiere's codecs don't read that flag correctly, and shows you the full resolution, but since there's no data in the pixels you're not supposed to be able to see, you end up with the corrupted border.

You need to transcode your source files using something other than media encoder (such as Shutter Encoder) and replace the footage in your project with the new versions.

You shouldn't need the Avid codec's installed for Premiere, actually if you do have them installed you might want to try uninstalling them - you may have some sort of weird codec conflict, especially if it's an older version than you think.

If all else fails though, you could use Shutter Encoder to transcode them over to ProRes.

Shutter Encoder will solve your problem. Use Apple ProRes or DNxHR and it will make it CFR, you'll be getting HUGE files but you won't lose any significant quality.

All game recording Variable framerate footage, Premeire hates it, and it can screw with effects rendering because the plugin doesn't know what frame it's looking at.

Use Shutter Encoder to transcode to ProRes (Big but fast) or h.264 (Slow but smaller.)

Then replace the footage in your project.

Whatever that file is, Premiere can't read it. Is it a FLAC?

You'll need to convert it to another format before you import. Try Shutter Encoder to .wav or .aiff.

Two possible causes...

First off try going into Premiere's preferences > audio hardware and set 'input device' to 'none.'

Secondly, looks like you're working with an OBS recording, so it's going to be variable framerate, which Premiere doesn't work well with. That means you need to transcode your footage before import.

To do that you need to use something other than Media Encoder (because that doesn't like VFR either) such as Shutter Encoder's ProRes or h.264 functions.

For projects you're already editing, you can use the replace footage feature to swap your clips out for the transcoded ones.

Even if VFR isn't the cause of your playback issue, it's something you should get into the habit of doing. VFR can cause all sorts of issues like really slow/glitchy exports and bad performance.

The audio is (probably) in an encrypted digital format that Premiere doesn't natively support.

Grab Shutter Encoder, select the 'rewrap' function and set the filter/extension to mov.

Under 'audio settings' enable 'convert' and run that function.

The video quality shouldn't be affected (unless it's in a codec not supported by mov.)

Premiere doesn't support MKV, and MP4 doesn't (strictly) support multichannel audio.

Simply renaming an MKV to MP4 does not make it an MP4, although it can 'trick' some software it will cause issues elsewhere.

Try Shutter Encoder, use the rewrap function set to .mov.

If all else fails, it also has an 'extract' function and various audio conversion options you could use to get your isolated audio out of there.

But you will be dealing with variable framerate out of OBS, so really you should be transcoding the video to constant framerate ProRes (ideally) or h.264 (if you don't have the room for the ProRes files!)

> 30.08 FPS

It's variable framerate. You need to transcode it to constant framerate before using it in Premiere.

Try Shutter Encoder transcoding preferably to ProRes 422 (but use h.264 if hard drive space is at a premium.)

Then you can replace the affected clips in your project window/bins.

Try another format/preset.

WMV is shakey as all hell, and wouldn't at all be surprised if Microsoft had slipped out an OS update that breaks their compatability with Premiere.

If you need WMV, export a Prores OP1a MXF, then run it through Shutter Encoder so you're not using the Microsoft codecs.

Datamoshing!

Here you go:

https://soundand.design/using-audacity-for-video-glitch-effects-9739e99351c0

(Shutter Encoder might work as an alternative to Prism File Converter if you don't have a mac.)

This is a specific issue to some game recording apps that results in files that have this issue when decoded in Premiere.

Basically the video resolution is actually higher than the recording resolution, and there are some tags in the file that tell the software playing it back to crop the video down to the correct size on playback. Premiere ignores these tags, so you end up seeing parts of the video you're not supposed to be able to.

(I think the cause of this is if you are recording a game running at a lower resolution than your display, most likely while in 'borderless window' mode.)

You're going to need to transcode your video using something that can read those tags (such as Shutter Encoder to ProRes or h.264) and then replace the footage in your project.

As with pretty much all screen recordings, your footage is likely to be variable framerate too which also often causes issues in professional software. Transcoding is also the fix for this issue, so two birds with one stone!

XBox Game Bar and Razer Synapse are two recording apps that definitely have this quirk, there's probably more as well that use a similar method. OBS doesn't do it, but still records variable framerate (unless you use StreamFX recording straight to ProRes but the system requirements are very high.)

Are you working with footage that might be variable framerate, such as screen recordings, smartphone footage, footage from a recent DJI drone, or recordings from teleconferencing apps?

This could also be an indication of a corrupt clip.

Either way you'll want to try to transcode the affected source clips using something other than Media Encoder (such as Shutter Encoder to ProRes) and then replace the footage in your project.

I didn't think Handbrake supported encoding ProRes? Unless they added it and I didn't notice. Otherwise Shutter Encoder can do it!

ProRes is an intraframe codec, so it requires much higher bitrates to achieve the same visual quality as HEVC.

Try ProRes LT and see how that looks, but ideally 422 is going to be the better choice if you want to retain as much quality as possible.

ProRes Proxy will have quite a significant effect on the quality, though how much it matters will depend on how complicated your footage is in terms of motion and detail.

Adobe Media Encoder is not really suitable for this. iPhone files are variable framerate, and Media Encoder tends to choke on them!

So use Shutter Encoder instead.

If you're transcoding for the purposes of editing (and you've got plenty of HDD space, and your NLE supports it) then use Apple ProRes. The file sizes will be large, but there will be practically no loss in quality and they'll perform really well in your edit software.

Otherwise use the 'h.264' function with the following settings:

• Under 'bitrates adjustment' click 'VBR' until it says 'CQ'
• Set the CQ value to 20
• Optionally check 'max quality' - this will result in a smaller filesize, but will take longer to process.
• In 'Advanced features' optionally enable 'hardware acceleration.' This will result in a much larger filesize, but it will be a lot quicker to convert. If you enable hardware acceleration, make sure 'max quality' is checked too as it doesn't have much performance impact in that case.

A CQ of 20 should result in very little loss of quality, but if it's still not good enough for you, try a value of 18 instead. The lower the value, the bigger the filesize will be.

> Unfortunately using a software to convert to a constant frame rate would add way too much time to my workflow

If you're planning on editing it, I'm afraid you don't really have an option there. Pro editing software typically hates VFR!

You could use Lossless Cut to trim down the streams into just the sections you need, that will minimise your transcoding time.

Then use Shutter to transcode to ideally ProRes (fast but will take a lot of space, ~132GB/hr for 1080p60) or h.264 CRF ~20 (slower, will take up less space, more quality loss.)

Looks like it might be a variable framerate issue.

Use Shutter Encoder to transcode the source clips to either ProRes or h.264, then replace the 'bad' clips in your project.

h.264 .mov is not possible in Premiere/Media encoder, the only mov files you can export are ProRes which is while the file size is huge!

You'll need to export an h.264 .mp4 file first, then you can use Shutter Encoder's 'rewrap' function to copy the streams into a .mov file.

(Or use Shutter to transcode your Prores exports to h.264 mov, which might be a bit faster since you've already exported.)

Let me guess... xbox game bar?

Xbox game bar is both variable framerate, and does weird things with the video resolution that Premiere doesn't like.

(Even if it's not xbox game bar, most screen recording applications are likely to have one or both of those issues.)

You'll need to transcode your clips before importing them to Premiere. It would be sensible to do that for all the clips, even the ones that look fine in Premiere as you will probably find when you export you'll have similar issues show up in your video.

Use Shutter Encoder and convert the clips to either ProRes 422 (if you've got lots of HDD space) or h.264.

I personally prefer putting a timecode in, usually about 30% from the top so that it partly covers interview subjects making it hard to crop out or cover up.

Shutter Encoder can do watermark and timecode burnin if you're after a tool - you could use both too!

You can't just rename a file and turn it into something else! That's like turning a Ford into a Ferrari just by putting a badge on it ;-)

You need to copy the audio and video out of the file into a new container - a process called re-multiplexing or remuxing.

If you're using OBS, it has a MKV to MP4 remuxing feature built-in - I think it's in the 'file' menu.

Otherwise use Shutter Encoder's 'rewrap' function set to mp4.

Compressor's h.264 encoding engine is infamously bad, x264 in FFmpeg is generally regarded to be the best one out there especially when dealing with low bitrates - so stick with FFmpeg!

I've been doing a lot of encoding of webinars and have got this down to a bit of a science, though these days I'm going through Shutter Encoder rather than FFmpeg directly (Shutter is a front end for FFmpeg)

If you go through shutter, try the following settings:

• Bitrate - however low you dare go, turn the audio down a bit too
• 2-pass enabled
• Max quality enabled
• Audio - convert to mono
• Advanced features - Hardware acceleration disabled
• Enable fast start
• Set GOP to 750 (or higher)

Using those settings with slideshow/webcam type webinar content, you should be able to get extremely low bitrates while still maintaining resolution to read the slides.

The real trick is raising the GOP, that's the same trick Zoom and so on uses to get their very low bitrates. You don't need many I frames when you're dealing with very little motion and a slide change every minute or so.

You could do that through FFmpeg too, but doing 2-pass VBR through FFmpeg command line is a PITA! You'd have to script it through bash.

ProRes, DNxHR, or Cineform. Shutter Encoder supports all three.

You don't really want to be transcoding to interframe codecs like h.264/265 for footage you intend to edit straght away unless you have absolutely no other option.

They are not well suited to editing with. Not only will they take a mbuch longer time to transcode than intermediate codecs, but you'll usually have to use a proxy workflow which means even more transcoding (and used storage space) before you can work on your edit.

One of more clips in your sequence is in a format that isn't available on the trial - you need to buy Premiere in order to use that footage.

Alternatively you can transcode those clips to h.264 using Shutter Encoder and then replace the footage in your project.

iPhones are stupid picky, for some reason they don’t like the mp4s Windows Premiere makes.

Try shutter encoder, use the rewrap function with filter/ext set to .mov

If that doesn’t work, I’m pretty sure that if you export an h.265/hevc mp4 from Premiere, the iPhone will read it just fine.

BDMV files aren't video files – they contain information about a video file on a BluRay disc, but don't actually contain any video/audio data.

Presuming you've got all the files from a BluRay, the actual video files should be in the BDMV > STREAM directory, probably in .m2ts format.

VLC will be able to play them natively, Shutter Encoder can be used to convert them to another format if needed.

MP4 isn't a good choice for this though! Use the 'rewrap' function with 'filter/extension' set to .mkv or .mov. It will be really quick and won't affect the quality.

This is a specific issue with footage recorded by some screen recording applications - Xbox Game Bar and Razer Synapse both have this issue, there are probably more examples.

Basically they record a video at a higher resolution than you think they do, then use some flags in the file to tell the playback software to crop it down to the correct size.

Premiere/Media Encoder can't handle those flags correctly, so you end up seeing parts of the video you're not supposed to be able to. Since those parts don't contain any valid data, Premiere's codecs flip out and just show corruption.

To fix it, transcode your source files to ProRes or h.264 using Shutter Encoder then replace the footage in your project with the transcoded files. Once you export again, the problem should be resolved.

Your footage will also be variable framerate which can cause some issues, conveniently the solution to the resolution issue will also solve that problem.

If your SRT file has exactly the same name as the video file (excluding the file extension) and is in the same directory as the video file itself, most video players will detect it and make it available as a subtitle option.

If you want to package the SRT into the file, you can use Shutter Encoder. You've got two options there:

Use the 'rewrap' function, set the 'filter' to .mp4 or .mkv, and under 'advanced features' click 'add subtitles.' This will embedd the subtitles as closed captions into the file so they can be toggled on and off...

...or use any video transcode function (for example h.264) and under 'overlay' click 'add subtitles.' This will burn the subtitles into the video as open captions meaning they're part of the actual image itself and can't be turned off.

This is a specific issue with the way your game recorder functions. (Xbox game bar or the Razer one by any chance?)

Basically the recording software is creating a video with a higher resolution than it needs to, and is then adding some flags to the file to tell whatever software is reading it to crop it down to the right size.

Premiere ignores those flags, so you see parts of the video that should be cropped off.

(I think the cause of this is recording a game running at a lower resolution than your screen)

Your video will also be variable framerate which is something you need to deal with before using it in premiere. Both those problems have the same solution!

You need to transcode your video using something that both reads the flags and converts to CFR (Media encoder can’t do it!)

Shutter Encoder can. use the ProRes or h.264 function, and replace the footage in your project.

Glitches on export are a common sign of variable framerate media.

Try transcoding your source footage to ProRes 422 using Shutter Encoder (or Compressor if you have it, don't use Media Encoder) and replacing the footage in your project.

That's either corrupt footage, or Premiere is having a hard time decoding your footage.

Given that this looks like a stream recording, it's likely to be variable framerate which can cause issues like this in Premiere.

Grab Shutter Encoder and transcode your raw footage to ProRes or h.264. Then replace the footage in your project.

Even if it is a corruption issue (maybe try downloading the file again?) you might find that transcode through Shutter makes the glitching less apparent and easier to clean up.

I can't claim to be an advanced user of the CLI, but take a look at Shutter Encoder. It's a GUI for FFMPEG and there are some presets available on the site as well.

It does include both an option to split and merge files as well.

Not excactly bat files since you've got to install software but hope it helps.

You'd have to watermark them before you put them on the cloud, otherwise you're going end up using twice as much space!

Presuming that the OneDrive folder is an actual directory on your system that you can save files too, you could set up another non cloud directory to export your videos to, then use a tool that supports a watch folder (such as Shutter Encoder) to automatically transcode and burn watermark in to any files that are added, with the output directory set to be the OneDrive folder.

Media Encoder is included with Premiere? So log into the CC app and download it?

Otherwise you could use Shutter Encoder to generate your proxies and manually link them in Premiere.

Woah. That's a memory leak of some sort. Premiere should definitely not be using 64GB just when playing clips!

This could be a variable framerate related issue, or something else weird going on with the actual video clips you're using.

Try transcoding them in Shutter Encoder to ProRes before importing to Premiere.

Make sure your Premiere is up-to-date as well, there were some memory leak issues with older versions on OSX.

It depends of your video bitrate, if it's a low value, the difference can be very visible.

I wrote something about this on my F.A.Q last question #17.

Hope it helps.

> Acquired with DJI Osmo Pocket and DJI Mavic Mini

DJI cameras sometimes output a particuarly weird form of variable framerate.

And all of the issues you're describing can be caused by VFR media in a timeline... so fingers crossed it's that simple!

Try transcoding your clips using the ProRes function in Shutter Encoder before importing into Premiere.

(If ProRes doesn't import, try the Cineform function instead - can't remember if 2018 supports ProRes on Windows!)

As requested, here is information regarding variable frame rate footage (VFR).

Some devices and software will produce video with a variable framerate. Most notably this includes things like:

• Smartphones
• Screen recordings/game capture software
• Recordings from teleconferencing apps
• Some drones and all-in-one gimbals

VFR footage tends to cause significant issues with professional software, which is designed around working with constant framerate footage.

Most commonly this could result in really poor performance while editing or exporting, glitches while editing or in your exported video, audio desync issues, and even instability and crashes.

It is recommended to transcode VFR footage to CFR before you import into your editing software. If you're already working on a project, you can transcode your footage and you should be able to replace/relink the footage in your project so you don't have to re-edit anything.

For this purpose, the /r/videography moderators recommend using Shutter Encoder, which will automatically convert VFR to CFR regardless of which function is used.

Ideally, transcoding to a professional editing codec like ProRes will get you effectively no quality loss, but will result in a much larger file than you started with. Alternatively, transcoding to h.264 at a ~50-100% higher bitrate should result in minimal quality loss.

If you see a post where this information may be useful, anyone can summon this message by commenting !vfr

I am a bot, and this action was performed automatically. Please [contact the moderators of this subreddit](/message/compose/?to=/r/videography) if you have any questions or concerns.

Does it sound like that in the actual file if you play it back in something else, like VLC?

OBS will often give you a variable framerate file, and that can cause issues like this in Premiere. If it's otherwise fine outside of Premiere, use Shutter Encoder and transcode it to either ProRes or h.264.

Lead mod of /r/editors here.

> The file is a 20Mbps h.264 MOV exported from DaVinci Resolve

This is a brute force idea solution. Just going to provide a better h264 than the built in Resolve encoder.

Export DNxHR SQ from Resolve; pass it to Shutter Encoder.

h264; CQ (click the VBR button 2x) and encode there.

https://i.imgur.com/vIu9EUv.png

You could try transcoding it to h.264 using Media Encoder which will be a little eaisier to play back compared to the default HEVC that the iPhones record.

The setting you need to make sure is set correctly is the h.264 profile level - you'll need profile level 5.2 for 1080p120 or level 6 for 2160p120.

In Media Encoder, the setting is located under encoding settings. It should guess it correctly but worth checking. You will probably also need to set 'performance' to 'software encoding' for that option to be available.

If ME doesn't let you use a level high enough (or the exported file has glitches,) try Shutter Encoder instead - the profile setting is under 'advanced features,' and again you'll likely need to make sure hardware acceleration is disabled. Generally Shutter does a better job handling the variable framerate footage that iPhones record.

Even 120fps h.264 can be pretty hard to play back too though!

Yeah, that's what you'll need to do, as with smart rendering you have to be exporting in the same format that your footage/previews exists in.

So if your previews and footage are ProRes 422 HQ, you also have to export ProRes 422 HQ. All the resolutions and framerates need to match up perfectly too.

No point pulling the export back into Premiere though, you can run the file through Media Encoder.

Or better yet, use Shutter Encoder (or handbrake) so you can use the x.264 codec which is superior to the MainConcept codec in Adobe apps.

Protip though - for graphics that are final, don't render previews - do a render-and-replace to the required format instead. Premiere has a nasty habit of forgetting previews between sessions, especially with linked AE comps.

First off if your laptop has an Nvidia GPU, make sure you're running the 'studio' drivers.

Also if it's a laptop with switchable GPUs (i.e. has an intel iGPU + a discrete GPU) go into your GPU driver settings and ensure than Premiere gets to use the discrete GPU.

Other than that, what is the source for the videos that are misbehaving? This sounds a bit like a variable framerate related issue, in which case you'll need to transcode your footage to CFR using something like Shutter Encoder before import to Premiere.

You can load .ass ^(heh) files into VideoPad, but you'll probably have to extract them from the file first. Shutter Encoder's 'extract' function should pull the subtitles out of the video file.

You may also need to convert the subs from SRT to ASS 'case it doesn't look like videopad can load srt. Subtitle edit can do it.

This is presuming that your source video doesn't have graphics-based soft subs, in which case you're probably better off finding an ASS file from somewhere online - unless you want to do OCR and loads of spellchecking...

> x265 (NVENC)

That's a contradiction, x265 is a software codec, NVENC is a hardware codec ;-)

x265 will get you the best results at lower bitrates, but will be a lot slower!

I'd expect that with x265 you could go down as low as 2-5mbps without significant quality loss, but with NVENC you may find yourself needing to add a few mb to achieve the same quality.

HEVC doesn't support interlacing, so you'll need to ensure you've got deinterlacing configured in the filters page.

I'm not fond of how Handbrake handles deinterlacing in a user-interface sense... it doesn't really communicate what algorithm is being used or leave much room for configuration. You might want to try Shutter Encoder instead as that gives you more control. Try Yadif 2x - that'll give you 50 or 60fps depending if your source is PAL or NTSC respectively.

(Handbrake can also do Yadif 2x but you have to use weird custom flags and configurations to make it work, with Shutter you just check a button and select it!)

Optimized media is the proxy function, and yup that's what you need to do.

Especially on the free version of Resolve, as it doesn't support hardware decoding of h.264/HEVC. Upgrading to the Studio version will get you better performance, providing you have supported hardware.

However with stream recordings, you're dealing with variable framerate media which can also cause major performance issues in professional applications - so you may end up needing to transcode your files outright anyway!

Just a thought, try running a section of video through Shutter Encoder with the following settings and see how fast it is to convert and how well it performs:

• Function: h.264
• Filter: .mp4
• Under Bitrates Adjustment, click 'VBR' until it says 'CQ'
• Set the CQ value to 18
• Enable max quality
• Under 'advanced features' enable 'hardware acceleration' to either Nvidia NVENC or Intel QSV (or whatever the AMD one is called, VCE?)
• Check 'Set GOP to' and set the GOP value to 1
• Start function

That should create an ALL-I h.264 file using fast hardware encoding. It'll fix the VFR issue, and should perform nicely in Resolve. The filesize will be very large though!

This is a common issue with DJI footage from their more recent drones - they shoot a particuarly weird form of variable framerate that causes the footage to freeze or heavily stutter after exporting.

You need to transcode all the DJI clips to constant framerate using something other than Media Encoder (such as Shutter Encoder to ProRes) then replace the media in your project.

That's a weird black bar because if you look closely it doesn't actually cover the entire bottom of the footage.

Are you running some sort of overlay software to get that framerate counter in the top left? Maybe it's overlaying something on the bottom for some reason, and it's just not actually on the screen.

Try transcoding the clip to either h.264 or ProRes in Shutter Encoder and replace the footage in your project.

Some game recording apps (Xbox Game Bar and Razr Synapse to name a couple) do strange things with the video resolution that Premiere/Media Encoder doesn't handle correctly.

That's something you should get into the habit of doing with game recordings, as they're also always going to be variable framerate which can cause a lot of other issues with Premiere.

Definitely install the studio drivers, but looking at your mediainfo readout:

> Frame rate mode: Variable

This is a very likely cause of your issue. Premiere/Media Encoder does not like variable framerate footage and such footage can cause errors when exporting.

You'll probably need to transcode your footage to constant framerate and replace the footage in your project.

You need to use something other than Media Encoder for this, such as Shutter Encoder. Preferably transcode to an editing codec like ProRes 422 (will require ~180GB for that much 1080p60 footage) or h.264 if space is at a premium.

You can do this using Subtitle Edit in combination with Resolve.

1. Import your subs into Subtitle Edit
2. Export using the 'final cut pro + image' option
3. In the export window, set it up as required and make sure 'full frame image' is enabled
4. When you export that, you'll get an XML and a bunch of transparent PNG files
5. Import the XML into Resolve. You'll get a sequence that's made up of clips linked to the PNG files
6. Export that sequence in a format that supports transparancy (I'm not sure what options Resolve has there! Maybe Cineform?)
7. If you need to transcode the file to some other format, Shutter Encoder is what you need. ProRes 4444 and VP9 both support transparancy. Remember to select 'include alpha channel' in 'advanced settings'

What's the end use for these subtitles? If you're trying to create an actual image based subtile format like .sup, Subtitle Edit can probably create it directly without going through Resolve.

Give Shutter Encoder a shot with the following settings:

• Function: h.265
• Filter/Extension: mp4
• Under 'Bitrates' adjustment, set video bitrate to 2500
• Audio bitrate 192k
• Check 'Max quality'
• Under 'Advanced features' set 'Hardware Acceleration' to 'Nvidia NVENC'
• Set 'Enable fast start'

That should transcode things really quickly (probably around 4-6x real-time on a 1050) to around 2.5% the filesize of your OG XAVC-S files. Quality should be pretty decent, if you need better it's the bitrates you need to fiddle with.

Since it's using your GPU's hardware encoding chip, you should still have enough performance left over while it's running that you can get on with other work at the same time.

If those settings work out for you, you can use ctrl+S to save it as a preset.

It has watch folder functionality too so you can dump the clips in a directory and have them start transcoding automatically - right click the file queue and the option is there.

Either with Adobe Media Encoder or Shutter Encoder

Go to prores LT or h.264 at same rez as zoom the zoom file(or if the zoom is 4k, you can set the intermediate you are creating to lower rez 1080p or 720p for editing and delivery if that suites your needs), but change the audio to 16bit or 24bit stereo and 48Khz

it should edit and export much easier.

I didn't even need to click your link to know that's DJI footage ;-)

The recent DJI drones are known to shoot variable framerate, which causes this issue when exporting in Premiere or transcoding in Media Encoder.

You'll need to transcode your footage using a 3rd party tool (such as Shutter Encoder to ProRes) and then replace the misbehaving footage in your project.

You may want to investigate your SD cards, as I believe the cause for them shooting VFR is your SD card not being fast enough to cope with the video bitrate.

There's an MP3 file in your project that's causing Premiere issues.

Find those MP3 files on your computer and use something like Audacity or Shutter Encoder to convert the MP3 to a .wav file, then replace the files in your project.

You're not the first person to report this issue in the last few days, so it may be a bug with Adobe's MP3 handling in the latest version rather than the files themselves being bad, but that should fix it all the same!

With Shutter Encoder...

Use the 'Rewrap' function, with 'filter/extension' set to .mp4.

Under 'Audio settings' click 'Convert' and set it to AAC.

The video will be unchanged in the resulting file.

Any chance that you're working with variable framerate media here? That can cause export glitches. Adobe keep 'improving' VFR support in Premiere, which really means they keep pushing the problem around from one part of production to another...

Cell phones and drones footage may be VFR.

Either way the first thing I'd do is locate the offending clips and transcode them to ProRes, and replace them in the project. If they are VFR, you'll want to use something other than Media Encoder to handle the transcodes, for example Shutter Encoder.

Export as ProRes 4444 (with 'include alpha channel' enabled).

Use Shutter Encoder to transcode that file to VP9 WebM. Under 'advanced features' ensure that 'enable alpha channel' is checked.

Have you got audio in your nests? If your nested audio is a different sample rate to your sequence (i.e. your source files are 44.1khz and your sequence is the default 48khz) then premiere has to do a real-time resample and mixdown of the nested audio which can cause performance issues.

Going to timeline > render audio will temporarily resolve this by precomputing the mixdown and resample, though Premiere does have a nasty habit of forgetting rendered audio between sessions.

Generally though avoiding nesting audio is a smart idea in Premiere - even the mixdown can have a pretty substantial performance hit.

Other random things it could be:

• This could be a VFR related issue - if you're dealing with footage that is pontentially VFR like screen recordings or cell phone footage, transcode with Shutter Encoder to ProRes or h.264 and replace the media in your project.
• Under 'audio hardware preferences' in premiere, set 'input device' to 'no input'
• It could also just be that whatever is going on inside your nest (or effects you've applied to it) are too heavy to be rendered in real-time. Try reducing playback resolution in your preview window, doing preview renders (place I and O points, hit return). Or re-examine your effects workflow paying close attention to the effect order to ensure that any CPU-only effects are rendered before GPU accelerated effects (and try to swap any CPU-only effects for GPU equivalents wherever possible!)

Xbox Game Bar?

It's the result of the app using an unusual way to handle the video dimensions that Premiere isn't able to handle correctly.

The video isn't corrupt, it's just Premiere is showing you parts you're not supossed to be able to see!

Use Shutter Encoder's h.264 or ProRes function to convert your clips before importing to Premiere. That program will interpret the unusual resolution setup of your file correctly, and will output something Premiere can use.

This sounds like an issue related to variable framerate footage. Is your footage a screen recording, off a cell phone, or a teleconfercing app like Zoom?

Grab Shutter Encoder and use the h.264 or ProRes function to transcode your footage. Then select the clips in your project window/bin, right click > replace and replace them with the versions Shutter made.

GFE shoots variable framerate footage using the NVENC h.264 codec. That codec does require a higher bitrate to maintain good quality, so your recording settings are more-or-less correct.

Given their VFR nature, transcoding them to CFR is pretty much a necessity if the ultimate use for these video clips is to be edited in a video editing package, otherwise weird things can and will happen!

So if you want them smaller with minimum quality loss, that would mean using a higher quality (non-GPU accelerated) codec that handles lower bitrates better.

I think a combination of Lossless Cut and Shutter Encoder will serve you best here.

First use Lossless Cut to trim down the videos to the size you want, then pass the resulting files into Shutter with the following settings:

• Function - h.264
• Bitrates adjustment - click 'VBR' until it says 'CQ'
• Set the CQ value to 20
• Check 'Max Quality'
• Under 'advanced features' disable 'hardware acceleration'
• Check 'Fast start'

This is constant quality encoding, and will use whatever bitrate is required to maintain the desired CQ value. Lower values = Higher quality, larger filesize, longer transcode.

20 is generally going to get you a fairly high quality result with a reasonable filesize, so I'd suggest you try that first to see if it works for your footage.

18 is generally considered 'visually lossless' with h.264, so may be worth trying too as I'd bet you still end up with something lower than 50mbps. 24 is the default value for the x264 encoder, and gets a good balance between filesize and quality.

This will also solve the variable framerate issue - you don't need to change any settings for your videos to be converted to constant framerate, Shutter does that automatically.

Not a clue then I'm afraid.

If it was me the next thing I would try is either transcoding the problem clips to ProRes 422 in Shutter Encoder and replacing the 'bad' ones in the project.

File size is a product of bitrate multiplied by time, so you are exporting at a higher bitrate than your source file. If you want a smaller file, reduce the bitrate slider.

However you'll likely find that quality will be quite significantly affected if you try to use the same bitrate as your source file.

Disabling hardware encoding, and enabling 2-pass will help, but every time video is re-encoded the quality is affected slightly - like resaving a jpeg over an over.

If you just want to trim a section off a video file, use Shutter Encoder's 'cut without re-encoding' feature. That will avoid any quality loss, and the bitrate will remain exactly the same.

Any chance the source files are variable framerate? I.e. screen recordings, videos from teleconferencing apps, or game recordings.

That can cause unusually long export times in Premiere, and if that's what you're up against you'll need to use Shutter Encoder to transcode your source clips to ProRes or h.264 and replace the clips in your project.

Also how exactly are you applying the colour grades? Is it through Lumetri, or are you using some other colour correction effects? Some of the older colour correction effects aren't GPU accelerated, and can greatly increase rendering time.

And finally screenshot your export settings, just incase you happen to be using some settings that are very slow.

FFmpeg should work.

ffmpeg -i "input.mkv" -map 0:m:language:eng -c:v copy -c:a ac3 -b:a 640k -c:s copy "output.mp4"

If you don't want to mess around with command line, you can paste the following adapted version of the command into Shutter Encoder's function box, setting the 'filter' to .mp4:

ffmpeg -map 0:m:language:eng -c:v copy -c:a ac3 -b:a 640k -c:s copy

The '-map 0:m:language:eng' is the important bit here and you will probably need to adjust that. You need to use the ISO-639-2 country code for the language you intend to keep - the example above will keep the English subtitles.

However if the subtitle streams do not have a language code correctly set up in the metadata, or it's subtitles not defined by a language (such as forced subtitles) you'll need to use this syntax instead:

-map 0:m:0

The last number specifies which subtitle stream to retain, starting at 0. If you open the mkv in a video player and go to wherever you select which subtitle language, they should be listed in the same order.

So for example if you want to keep the 3rd listed subtitle in the file, you'd use:

-map 0:m:2

Let me guess... iPhone or iPad? They shoot variable frame rate which can cause sync issues in premiere.

You'll need to transcode the footage before importing to Premiere using something like Shutter Encoder.

This issue is caused by Xbox Game Bar recordings handling resolution in a weird way that Premiere doesn't like.

Get Shutter Encoder and transcode the footage to ProRes 422 or h.264 before importing to Premiere.

You may want to swap to OBS which doesn't have this issue (but you may still run into VFR problems.

Can't speak for that software in particular but that seems like typical video editing software behaviour when the codec of the video isn't supported.

Movavi notably don't support HEVC/h.265

And if those .mov files are off a modern IOS device like an iPhone or iPad they probably are HEVC.

So if that's the case you'll need to transcode the files to h.264 using something like Shutter Encoder before you can import them.

And if you are using an IOS device, there's an option it the properties for the camera app that you can set to 'more compatible' to record h.264 rather than HEVC.

Yes, but it's not that simple...

Duplicated frames are there for a reason - it's to fill time. If you cut the duplicated frames, you cut time and your video will appear to jump forward whenever one was removed. That could be just as or even more distracting than the duplicated frames were to start with, especially considering the sound will be affected too!

If you want to try anyway, Shutter Encoder has a 'remove duplicate frames' setting in 'advanced options.'

But ideally, you need to replace those duplicated frames with something which is a bit more involved.

I haven't got round to trying it yet, but this post goes through a techique to do so using FFmpeg:

https://www.reddit.com/r/ffmpeg/comments/9kokms/interpolate_duplicate_frames/ecyr8jm/?context=3

Basically what that will do is:

1. In the first process, convert the video to variable framerate, dropping duplicated frames but adjusting the framerate to maintain video timing
2. In the second process, convert the video back to constant framerate, using interpolation to generate new frames to replace the missing ones

You can use these adapted versions of those commands in Shutter Encoder by pasting them in the 'function' box:

ffmpeg -vf "mpdecimate" -c:v libx264 -crf 18 -c:a copy -vsync vfr

.

ffmpeg -filter:v minterpolate=fps=60:mi_mode=mci:mc_mode=obmc:me_mode=bidir:vsbmc=1 -c:v libx264 -crf 18 -c:a copy -max_muxing_queue_size 400

It will take a long time to process, especially the second step; and your liable to get artifacts if a dropped frame occured over a camera cut or on detailed HUDs.

Recommend you test it with a small section first to see how it comes out with your particular footage.

Green frames in an export means the encoder didn't know what pixels to put there. It's basically an error designed to make the 'bad' pixels easy to spot.

A common cause of that issue is working with variable framerate media. Is your media from a screen recording, cell phone, teleconferencing app, or DJI drone?

If you are working with VFR media you need to transcode it using something other than Media Encoder before you import it, for example using Shutter Encoder.

If you use one of the 'editing codec' formats like ProRes 422, you'll probably find you don't need to create proxies for those clips.

For the clips that can't be imported, that could be an issue of the container or codec not being supported by Premiere.

Notably, the trial version (and... less than legal versions) doesn't support h.265/HEVC which a lot of cameras are shooting these days.

The solution there will be to transcode the footage to another format before importing using something like Shutter Encoder to ProRes.

Proxies and interpreted framerates don't play well together. You have to manually create your proxies at the interpreted framerate, rather than at the framerate.

This video shows how to do that.

I personally prefer to transcode the HFR footage to ProRes to avoid the hassle of dealing with those extra proxy steps ;-)

> Visually, I can't tell the difference between the two even after pixel peeping.

Then you probably don't have a problem, but there is a catch.

Handbrake doesn't support any h.264 profiles that allow for a 4:2:2 h.264 file, so you are throwing out colour information in your video.

This is especially problematic if you intend to use the footage for chroma key or VFX work.

If you go through Shutter Encoder instead you can preserve 422 in h.264:

• Set function to h.264
• Under 'bitrates adjustment' click 'VBR' until it says 'CQ' and set the value to 18
• Under 'advanced features' set 'force profile' and set the profile to 'High422'

MJPEG is notoriously inefficient in terms of bitrate. It's totally possible you could end up with a visually lossless transcode to h.264 at a low bitrate (even with the High422 profile), especially if there isn't much motion and/or detail in what you shot.

If in doubt, do a PSNR analysis on the source MJPEG file versus the transcode with FFmpeg:

Windows:

ffmpeg -i "mjpeg.avi" -i "h264.mp4" -filter_complex "psnr" -f null NUL

OSX/linux:

ffmpeg -i "mjpeg.avi" -i "h264.mp4" -filter_complex "psnr" -f null /dev/null

A result of about 35dB or lower is a good indication you have a perceptually lossless transcode.

MJPEG isn't raw btw ;-)

And the file before you upload is definitely the right length? That's weird as hell.

Sometimes weirdness with video length can be caused by bad metadata in the video container.

A quick way to fix that is to download Shutter Encoder and use the 'rewrap' function set to the same extension the file is already in.

It will copy the video/audio streams out the 'bad' container into a new one.

If that's the problem it doesn't really answer as to why Premiere is exporting a broken container though, not something I've seen happen before!

If you can get a ProRes file out fine, try running that through Shutter Encoder rather than ME. It sounds like your issue is with Premiere's h.264/265 encoding engine specifically so at the very least you can work around it for now.

It seems like this is a pretty old bug going back to at least 2018, and it may not actually be related to smartphone rotation metadata. There are a few reports that counterintutively it's related to the framerate rather than rotation somehwow?

Here are a few potential workarounds:

You could try stripping the rotation metadata from your source files, this FFmpeg command will do it:

ffmpeg -i "inputfile.mp4" -metadata rotate=0 -c copy "outputfile.mp4"

If you don't want to use scripting/CLI, you could paste the following adapted version of the above command into Shutter Encoder's function box:

ffmpeg -metadata rotate=0 -c copy

That'll let you batch run it on a bunch of clips.

Alternatively, you could use Shutter to create your proxies - it can transcode to prores - and then attach those files as your proxies rather than having media encoder do it.

And finally you could just transcode all the footage to full-res ProRes or Cineform in shutter, in which case you probably wouldn't need proxies. That's what I typically do with smartphone footage, as it tends to be variable framerate which is a problem proxies don't help with.

Prores is a professional production codec with a high bitrate so that’s totally normal.

You probably need an h.264 .mov which unfortunately Premiere cannot export (anymore) - you have to use .mp4 instead.

If the client really can’t live without .mov, you can use Shutter Encoder’s rewrap function to convert the exported .mp4 losslessly to .mov.

Eh, it's not great - clearly shot on old analogue tape cameras so there's probably not even a higher quality version knocking around somewhere on an archive!

However you could try some colour correction and sharpening.

You could have a crack at it yourself using Shutter Encoder. Under the 'colorimetry' tab, click 'image adjust' and you'll be able to mess with the colour and sharpening.

(Shutter also has a 'web video' download feature that will get the highest quality possible off of YouTube - just paste the link in and hit go)

It does however appear there was a DVD release of that concert. If you can track that down I bet it would have at least slightly better quality than YouTube and the audio quality should be a lot better too.

It might even be 50i/60i, in which case you could use doubler deinterlacing to get a 50fps/60fps version of the concert created.

Could be different audio frequency, the iPhone records 41.1khz and most professional audio recording equipment will record at 48khz.

Could also be differences in internal clocks too. No two electronic devices will have perfectly $ynchronized internal clocks (unless you use an external clock), so there will always be a bit of dr!ft.

You'll have to find the difference in percent between two points in both recordings, then use audio software like Audacity to timestretch the mic audio the required amount.

Software like Pluraleyes can sort out the dr!ft for you if you give it the camera and the external audio.

iPhones also record variable framerate which can cause issues with audio $ync. Use software like Shutter Encoder or Handbrake to transcode to a constant framerate.

Typically you don't want to simply convert from 24 to 25 via frame addition/dropping, this is a QC fail for a lot of distribution services - so bad practice to get into the habit of doing.

But there are two relatively straightforward ways of dealing with this situation.

If you don't need to worry about syncing simultaneous cameras or dual-system audio, you could do an offspeed conversion. This will give you a frame-perfect conversion, but it will run about 4% faster or slower depending on which way you go - way outside of the realms of noticeable for most people though ;-)

For clips without audio, you can do this directly in Premiere - simply interpret the clips' framerates to match your sequence.

For clips with audio, it's a bit trickier, I'd recommend instead using Shutter Encoder to pre-process your clips:

• Set function to Apple ProRes
• Under 'Advanced features' set 'Conform by' to 'speed' and i/s to the desired conversion framerate.
• Start function

If you have to deal with sync, then you can do motion-compensated conversion via optical flow, which is again pretty simple to do. Select all the clips in the 'wrong' framerate, right click > time interpolation > select 'optical flow.'

This will maintain the speed of your clips so everything should sync up, but be weary of artifacts introduced in scenes with fast motion.

There are some tricks you can do to get better encoding of noise with h.264, but you're going to need to pull it out of Premiere.

Export a MXF OP1a file from Premiere (it'll be quite big so watch out for that), and download Shutter Encoder.

Add the mxf file to the queue and try the following settings:

• Function: h.264
• Under bitrates adustment:
  • Click the 'lock' icon next to the filesize, set it to 49 MB
  • Enable 2-pass
  • Enable max quality
  • You may want to reduce the audio bitrate to make more room for the video (the video bitrate will adjust automatically)
• Under Audio Settings
  • Consider setting audio to mono, especially if you lowered the audio bitrate previously
• Under advanced features
  • Ensure hardware acceleration is disabled
  • Check 'Force tune' and set to 'Grain'
  • Enable fast start

Then click start function.

That will get you pretty much the best possible results you can expect for your video while keeping it within 50MB.

If it still isn't good enough... well as others have said it's the noise thats the problem so simplifying that noise would help a whole bunch.

However it'll all be undone the moment you upload it somewhere and it gets transcoded to something else...

Try Shutter Encoder

Add the video to the queue, and set the function to h.264.

On the right in the 'bitrates adjustments' section click 'crop...' and chose 'advanced.' A window will open up with a box you can drag to specify which section to leave in the video.

Once you've set it, close the window and click 'start function.'

Word of warning though, anyone who knows vaguely enough about video will probably be able to tell it's been cropped as it won't be a 'normal' shape.

You may not have enough space on that 1TB drive to export this file.

Premiere can require up to 5x the free space on the target drive as the estimated filesize, which for a ~200GB export will be 1TB.

That is a worse case scenario though, but best case will require at least twice the estimated filesize in free space, so 400GB.

Also your media cache will get used a lot in the export and may be filling up. By default that's your C:/ drive on Windows. You're going to want at least 200GB free in the cache for this export, which may require moving your media cache to another drive in preferences.

You may need to export this video in many small chunks and concatenate them together afterwards. Shutter Encoder can handle the concatenation - add all the chunks in order to the queue and use the 'merge' function. (Again this will require you to have 2x the space free on the 1TB drive.)

Use Shutter Encoder to convert the video. Ideally use the 'Apple Prores' function for best results, but the filesize will be very large after the conversion. If that's an issue, use the h.264 function instead but there will be a little bit extra quality loss.

Once you've converted the file, in your project locate it in your bin, right click > replace footage and find the new file you created.

Variable frame rate issues are very common with video game recordings, and it's always safer to transcode everything before you start working. If you're doing very long recordings, you can use Lossless Cut to trim it down to the highlights you want to use in Premiere before transcoding to reduce the amount of time/space you spend doing it.

Oh I just realised I replied to you thinking you were someone else in /r/aftereffects so my answer probably didn't make a whole lot of sense!

Yup, each frame becomes an image with an index number. If the upscale fails, you can tell Topaz to start from a specified frame and continue the image sequence. Takes a lot of space though!

You can then either import that image sequence into an NLE, or using something like Shutter Encoder to encode the frames into a video file and multiplex the OG audio back in.

> CSGO Clips together and edit them

You're going to be dealing with variable framerate footage which can cause performance issues in Adobe apps and that could explain the issues you're facing.

Transcode your footage to constant framerate using something like Shutter Encoder to h.264 or ProRes before working with them.

If you're working with very long recordings, it may be a good idea to use Lossless Cut to trim down your recordings to the parts you actually need to minimise how much transcoding you need to do.

And just in-case as it can also cause issues with Adobe apps, make sure you're running the studio drivers for your GPU.

After Effects on its own should be quite good at keeping its RAM usage in check - there are settings in preferences to configure how much is allocated, and 26GB sounds about right for the default limit AE would set for a 32GB system.

Reducing that limit may help a bit if you've got other RAM hungry non-Adobe apps running at the same time, though it will reduce how much space you have for the RAM preview and fewer rendered frames will be stored.

Did you download that MP3 from somewhere like YouTube using an online video to MP3 converter? A lot of the online ones produce bad files.

If that's what you're trying to do, try Shutter Encoder - use the 'web video' function, paste the URL into the box and check 'convert to wav.'

(You can also have it convert to MP3, but when working with video software it's generally a better idea to use an uncompressed audio format.)

This error can be caused by working with variable framerate media, for example screen recordings and cell phone footage.

Transcode the media in your project to h.264 or ProRes using Shutter Encoder and replace the footage in your project.

If you're just gluing the videos end-to-end, you can losslessly concatenate them which will result in a file that is equal in size to all the files combined.

The format, resolution, and framerate of all the files need to be identical to do this.

Shutter Encoder can do it, add the files in-order to the queue and use the 'merge' function.

If you do need to trim them down before merging, it also has a 'cut without re-encoding' feature that will help, but note that you may not be able to place your cuts exactly where you want them - they have to fall on interframes.

Downscaling the images to fit your video better (so 1920x1080p) and saving them as an uncompressed format like .tif might help somewhat (not certain what formats iMovie supports though!)

Try Shutter encoder

Add all the images to the queue, set the function to 'image' and 'filter' to .tif. Then under 'image' in the top right set 'scale' to '1920:auto' and click 'start function.'

If you're reading the files off an external USB stick or HDD, moving them onto your mac's internal SSD might also help.

You were probably looking at DAIN which is totaly free.

The catch is that you need a very good Nvidia GPU to run it, preferably with at least 10GB of VRAM.

Framerate interpolation has been around for a very long time though, it's really just the AI method that's new.

'Optical flow' seems to be the most common name for it, and most professional editing software has it in some form or another (and honestly it gets pretty good results a lot faster than the AI methods.) In apps like Premiere and Avid, you can literally just stretch a clip to the duration you require it to be, and frames will be interpolated as required automatically.

If you don't have an unobtanium GPU, Shutter Encoder has FFmpegs 'minterpolate' filter. To use it, select any video function, then under 'advanced features' set 'conform by' to 'ultra-slowmotion.' The next step is a bit unintuative, for example if your video is at 30fps and you want it to play back at 50% speed, you need to set the conform target to 60fps. For 10% speed, set it to 300fps, and so on. It will take ages to process, but it won't take as long as DAIN!

Modern smart TVs can also do a version in real-time (and people generally hate it!)

AI or not, interpolation isn't magic. If the input framerate is too low or there are too big changes between each frame, you'll get weird morphing effects. As a result, interpolation works best when the input framerate is already pretty high!

Interpolation also tends to get pretty bad results when there are hard cuts, generated graphics on the screen like text or on-screen titles, or fast camera movements.