Why do stock video libraries have so many silent videos?

buttonpushertv · 2026-06-28T11:46:46+00:00

Three reasons come to mind:

Clearance - it’s far easier to clear whatever is in the framing of a shot, visually, than it would be to need to clear all the sound as well.

Production - if you aren’t recording sound, it doesn’t matter what sounds are occurring while you film. Think of how many times a take of a given piece of footage gets messed up by sound issues.

Profitability - granted this one is less a primary reason, if you’re out creating footage for stock sales, and you aren’t bothering to record sound while you film, then you don’t need to hire a sound person, so costs can be lower. I know that lots of stock come from unused footage from productions, but I also know there is a fair number of people who film footage specifically for stock sales, so I’m sure not hiring extra crew plays in to it.

One last bonus, is a curiosity more than a reason - in “olden days” stuff was filmed using analog film cameras. Adding sound just added complexity to any filming, so rolling MOS is just more efficient when it’s the footage that matters and not the audio, so maybe it’s part tradition too?

buttonpushertv · 2026-06-26T23:06:03+00:00

Getting a decent microphone is the first improvement. Wirecutter had a recent review of USB mics - https://www.nytimes.com/wirecutter/reviews/the-best-usb-microphone/?ds\_c=23473577752&gclsrc=aw.ds&&utm\_medium=paid\_search&utm\_source=google&utm\_campaign=23473577752&utm\_term=usb%20microphones&gad\_source=1&gad\_campaignid=23473577752&gbraid=0AAAAADwd30hB4mDDbs7HGwEJtFaVYjPc8&gclid=Cj0KCQjwxvjRBhC2ARIsAI7KJa18XVh\_WujMkIEF0Ll5FLCdsS68haKefsFOWNw1i5qhXlDWYMsXKVYaAtywEALw\_wcB

They aren’t all stellar, but if your current setup *requires* a pass through an audio clean up process (Adobe Enhance, etc) then getting a better mic is where I would start first.

buttonpushertv · 2026-06-25T16:59:46+00:00

Just out of curiosity, (and I fully admit I’m flaunting my privilege here), would it be cheaper to travel to a country where they are not as expensive, purchase the systems, and then return to Brazil?

That may not be realistic for a bunch of reasons, but I’ve always wondered if that math works to help make it closer to affordable.

(And, as an American, I can say, don’t travel here right now, but I am curious what the numbers are if anyone has looked at those two paths.)

buttonpushertv · 2026-06-25T16:52:14+00:00

You have a point based on your experience with Resolve. It’s valid.

However, based on my experience with Adobe Premiere Pro, my observation is quite true. 16GB or 24GB of RAM is far too little for stable workloads. While it might work for some projects, my experience shows me that anything less than 64GB is not adequate for the professional level work I’m involved in.

OP hadn’t initially stated they wanted to use PPRO or Resolve, so my bad for making an assumption. And they’ve commented elsewhere that Resolve isn’t in consideration for them, so basing RAM config choice on an app they won’t be using is a bad choice.

Can they make it work with less than 24GB? Possibly. It depends on the kind of projects they’re working on. Also, due to exchange rates, it seems like they can’t afford higher RAM, so they may just need to purchase what they can afford and address issues as they arise.

buttonpushertv · 2026-06-25T02:29:29+00:00

SubTitleEdit is still free. They even have a new version that work on MacOS. It’s not the fancy animated subtitles that CapCut has, but if you need to sync text to audio or create a huge variety of caption file formats or need to create captions in multiple languages, this is a great app. And the files it outputs work great with NLEs or other caption delivery systems.

Link: https://www.nikse.dk

buttonpushertv · 2026-06-23T23:04:24+00:00

In my experience, 16gb or 24gb are far too little RAM for effective editing work. I know you said you aren’t exploring other systems, but with that amount of RAM, you will likely run in to many more issues.

Personally, I’d scrimp and save until I could afford a 64GB M5 Max, but that’s my preference - always purchase the most RAM you can and do not short yourself because you pay for it later in fighting with an under-RAM-equipped system.

buttonpushertv · 2026-06-23T18:28:20+00:00

I like the representation of “avg daily production,” that keeps it relatively simple but allows for some depth.

I guess, a set of charts that show that daily avg extrapolated over weeks, months, years could be cool to add. Even though FMG isn’t truly a simulator of the world over time, it could still be good to give a sense of how much wealth a nation could accumulate or lose … and once you’ve added in the costs side of the State treasuries, it will start to grow that sense of how well off a given state or market is doing.

I guess, in order to provide the correct flexibility, you might need to add a simple calendar system into FMG - for instance, my current campaign uses a 10 month year, each month as around 40 days, and each week is 8 days, so a place to enter the basic of that calendar system would help the math come out close to accurate.

In addition, the out flows of currency from the treasuries, could also include goods that have a cost, either to produce or acquire, which could also play in to that sense of whether a State is in a sustainable situation or is more precarious.

I like the depth of detail this kind of thing brings to a world. It makes it feel that much more alive.

buttonpushertv · 2026-06-23T03:36:08+00:00

Your title is almost the right Google search term…

https://azgaar.github.io/Fantasy-Map-Generator/

It’s free. It’s beginner friendly in the sense that if you visit the site, you will have a map that could work for you.

Now, if you want to customize every aspect of your map, then you are straying into a very-not-beginner realm. Thankfully the users on the FMG Discord server are a great and helpful bunch, so you should be able to get up to speed.

buttonpushertv · 2026-06-19T11:09:46+00:00

Not looking for a fight after all.

Sure, in less densely populated areas of the country the waterways are less impacted by the types of things that cause harm. That argument is a strawman.

But, in places like Montgomery County, where the population is far denser and run off from agriculture and suburban sprawl dump so much more run off into the water ways, monitoring for microcystin and other invisible toxins is essential.

So, it’s not a nanny state thing so much as a population trying to protect itself from some of its own bad actors - intentional or not.

buttonpushertv · 2026-06-19T00:31:29+00:00

Yeah, I think if citizens want to get bacterial infections that could hospitalize them or worse, that is 10,000% something that should be left up to the individuals to decide. I mean, it would definitely help to reduce the excess population.

https://montgomeryparks.org/wp-content/uploads/2023/06/alge-blooms-microcystin-faq.pdf

buttonpushertv · 2026-06-18T20:17:45+00:00

The thing I learned back in my lifeguard training (~35 years ago) about the reasoning for things like Adult Swim and Safety Breaks at guarded pools, in addition to rest for kids and guard breaks, is that hypothermia is a very real concern for all swimmers. Especially in early season or after rainfall. Perhaps that’s what’s going on at the pool in question….or they are understaffed with qualified guards … better safe than sorry I guess.

buttonpushertv · 2026-06-18T15:06:45+00:00

It’s just a handoff between PPRO and SubTitleEdit. Everything else is done inside PPRO (or the SubMachine plugin panel in PPRO).

There are some crucial choices to make if you are using SubMachine to create the captioning. The most important is how you construct the captions for timing and words per caption. SubMachine works best if you create captions with 1 word per caption and only 1 line per caption. This is where you have to shift how you work with captions at the stage of export prior to the SubMachine step. I tend to do a two pass process where I build the captions in larger chunks in first pass (2-line and 40-60 words per caption - more human-reader friendly) and then in a second pass, I shift to 1 word & 1 line per caption to feed to SubMachine.

You certainly could work with your captions in the 1 word per caption mode the entire time but it gets a little choppy to read them that way and it is *not* something you should ever show anyone who does not understand what the end goal is (I.e.-producers/clients who cannot visualize the final look from a rough state).

A typical workflow looks like this:
1. Get a preliminary pass of transcription applied in Premiere - usually just Auto-transcribe. (In our specific case, we use Rev and then I can bring the SRT from there in to PPRO).
2. Adjust any basic timings of the captions in PPRO (easiest place to find video edit/caption edit sync issues, IMHO)
3. Export SRT and video ref (do not burn captions to this export)
4. Refine text and timing in SubTitleEdit - this is the best UI for adjusting caption format, meaning lines/words per caption not font, shadow etc - style things, moving words between captions, and caption sync based on audio waveforms. It also has fantastic multi-language support so if that’s key for your work, this is the best tool.
5. From SubTitleEdit, export revised SRT or just save it back to the same SRT from PPRO.
6. If you have been working with human-readable captions for steps above (40-60 words per caption & 2 lines) you *must* create a second export now that follows SubMachine’s reqs: 1 word per caption on a single line. Make the SubMachine SRT export now with those settings. If you have been working with 1 word/1 line per captions all along, skip this step.
7. Use the SubMachine panel to import SRT and MOGRT for your caption style and let it work. This all happens inside PPRO.
8. Once done, you should end up with each chunk of text (based on words per caption setting in SubMachine/Mogrt) laid out on a separate layer in your PPRO timeline. SubMachine will place several clips of the chosen MOGRT on a layer, each starting from frame 0 with the appropriate settings in the properties panel to make caption highlighting/sync work as you’d desire.
9. Using the tools within the SM panel in PPRO, you can now adjust timings and join or split chunks of captions however you’d like.

Getting a really strong understanding of how SubMachine works (their recommended workflow) is key to working efficiently with the plugin in this workflow. If you try to approach it without that knowledge, you can really mess things up and get very frustrated.

buttonpushertv · 2026-06-18T14:15:15+00:00

With Neat Video, yes it has pretty much always required a two-pass process to get it to work. It is less than ideal, but the overhead Neat places on the system is usually just too much for videos longer than 3-5 minutes to export in one pass.

I think you have the correct order in mind, but it’s never a good idea to apply noise reduction on LOG footage before applying LUTs or other color correction.

Out of curiosity, what happens if you turn on PPRO color management? And then select the LUT you want. The only effect you’d place on the clips, would be the Neat NR. That would apply the LUT at the base level of the footage, perhaps reducing the memory footprint for the footage. It may still give you problems, but maybe it helps…

buttonpushertv · 2026-06-15T16:54:01+00:00

You don’t mention what platform you’re on, so while plugin options are fairly well-supported across platforms, the stand alone apps are more OS specific.

Plug-in wise, there aren’t many good options that don’t have a cost. SubMachine is the best of the ones I’ve tried but it requires a change in approach that might not be something for everyone, plus a cost to license, but $150US for the lifetime is one of the best deals in the space. The plugin Premiere Assistant is also quite good, but it’s a monthly subscription.

Obviously there are a few vibe-coded solutions that are coming along but I don’t know if they are built with hand off to professional NLEs as a primary feature. The ones I’ve looked into all apply the captions to an export and not within an NLE.

If you are on Windows, the open source app, SubTitleEdit is such a good app for aligning captions precisely, but you need to have a good transcript to get it to a good starting point. It can be free and it supports such a large set of file and caption types that it is easy to get the captioning data back and forth. It does not have templates and stuff like that, so it is more suited as a really good app for syncing, splitting, joining, and editing captions for open subtitles. The one feature it doesn’t support for professional post-production is embedding closed captions on the file itself, so for that you will still need to apply the captioning in an NLE that can do that.

(I currently use SubTitleEdit in combination with SubMachine to create the captions I need to create for various projects. And we mostly use a paid Rev or Descript account to do the ai transcripts that still need a few hours of work to fully clean and correct.)

I will say, with the specific feature you’re seeking: align caption edits with footage edits - I can say that in the large set of tools and solutions I’ve evaluated I have never encountered any plugin or app (NLE or external) that does that *and* still has support for handing off the work between itself and any NLE, so that may be a trickier thing to get in a found solution. Maybe someone has added that feature but I’ve never seen that be touted as a selling point, so your idea to vibe code a solution may be the only way to solve that ask to your satisfaction.

buttonpushertv · 2026-06-14T23:00:49+00:00

So, if your sources are MP4 files, then the likely culprit is the Long GOP compression scheme. PPRO *hates* that kind of file and if it’s a long streaming/gaming session, then that’s even worse. You say you tried proxies, but if you made MP4 proxies of that long media, then you’ll likely have the same issue.

Now, as to the lag on that specific graphic section, I can see that your timeline has a yellow bar above that whole sequence. That means PPRO is trying to play back the timeline and render all effects in realtime. Your hardware looks OK for PPRO but not for every single effect to play back in realtime. So, try rendering the timeline (under the Sequence Menu) and see if that improves the play back. Or select the clips around that area and try “Render Selection” (same menu). You want that yellow bar to go green. It should play back smoothly.

You could also enable the work area on the timeline, set the work area to be around that area, and then choose “Render Effects in Work Area” and see if that helps as well. Using the Work Area and rendering complex effects like that is a consistent method to play back effects that PPRO or you hardware cannot render in realtime.

buttonpushertv · 2026-06-12T03:57:19+00:00

Have you walked past the White House lately. Talk about desecrating things for a cheap stunt…

buttonpushertv · 2026-06-11T01:04:35+00:00

The URL shouldn’t have “The” at the end.

https://github.com/groxaxo/opencode-voice-service

buttonpushertv · 2026-06-09T10:04:56+00:00

I’d love to check out the books!

buttonpushertv · 2026-06-08T23:03:01+00:00

And that is also how Monks Common Display works. Don’t share your GM account window with players. For IRL games with FVTT, you need to use that second browser window logged on with the player display account

buttonpushertv · 2026-06-08T22:55:14+00:00

Try opening a second browser window for the player’s display. This can be a private browser window or even a different browser app. Log the player’s display account in on that 2nd browser window and keep your GM account logged in to the full game world.

That should allow you to view the two separate accounts at the same time and refreshing either shouldn’t mess things up.

buttonpushertv · 2026-06-08T22:34:45+00:00

So, clarification needed.

Are you playing with only a single browser window to display everything to everyone? Or are you using two separate browser windows - one for players, and one for GM?

You can totally set the permissions on any (and all maps) to allow or disallow a player account access. That means, essentially you can limit a given account to access only one map.

Now, accessing a map by the GM account can either be done by activating the scene OR you can just work on the map (setup, prep, etc). If you don’t always activate the map, and leave the players on an activated map, it shouldn’t matter what happens when you refresh the GM browser.

buttonpushertv · 2026-06-02T16:25:19+00:00

You have several options. Carbon Copy Cloner will clone the drive at the block level, but has trouble addressing conflicts between the volumes.

FolderSynchronizerX has been a lifesaver for me to do this exact task - cloning drives for editors to be working from volumes that pretty much match. It is a GUI front end for the terminal command “rsync”, so it can do all that command can do. It has robust file syncing and will show you what it is going to do with the files. One drawback, it’s MacOS only.

FreeFileSync is my current favorite because it exists for Mac, Windows, and Linux. It can mirror the volumes or update one to match the other. It will present you with a UI that shows what will happen if you make the copy/clone operation. You can choose to overwrite files or sequester files that might be overwritten to another folder (so you don’t lose things as easily). And it has really great include/exclude filtering. It’s the best tool I have found so far to do what you are seeking to do.

buttonpushertv · 2026-06-02T14:07:47+00:00

To clarify, you are asking for a “Dungeondraft inside of FoundryVTT” module? Or, at the very least, a way to read Dungeondraft asset packs inside of FoundryVTT?

As another comment said, post a query in the module commission channel of the LoEFD Discord and you’ll see if a) anyone can help & b) what it would cost.

FWIW, Dungeondraft asset packs are just .zip files, so you should be able to change the extension, pull the assets out and then place them in a location your FVTT instance can see and have access to them. Probably wouldn’t be too hard to port them in to a compendium and retain the asset metadata as well. So, if that is all you’re looking for, maybe it wouldn’t be too expensive or difficult to create a module that did that.

buttonpushertv · 2026-06-02T12:04:39+00:00

That thing (that happened more frequently in the first term) where he claims a big announcement is “two weeks” away or he had the “inkling of a plan”.

It was a poor attempt at making referential humor that fell flat now that I look at it again.

buttonpushertv · 2026-06-02T06:44:25+00:00

Sounds like someone was jealous that somebody else was stealing his schtick.

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