Find files, editable templates and browser test targets by what you need to make or test. The directory below is cut by format; the two collections under it cut the same library by subject and by workflow.
Page 2 of 19; 24 results per page.
Every frame is an I-frame, so any frame is an independent cut point. Much larger, and the shape editing and frame-accurate seeking want. Same picture and same codec as every other clip in this group; only the GOP and frame-type structure differ, so the effect on size and seekability is directly attributable.
Eight consecutive B-frames with a B-pyramid, so decode order and display order diverge sharply and DTS runs well behind PTS. The case that breaks naive timestamp handling and any code that assumes frames arrive in display order. Same picture and same codec as every other clip in this group; only the GOP and frame-type structure differ, so the effect on size and seekability is directly attributable.
One keyframe per second: the delivery default, and the setting that determines HLS/DASH segment boundaries, since a segment must start on a keyframe. Same picture and same codec as every other clip in this group; only the GOP and frame-type structure differ, so the effect on size and seekability is directly attributable.
I and P frames only. Required by some low-latency and legacy decoders, and it removes the reordering that makes decode order differ from display order. Same picture and same codec as every other clip in this group; only the GOP and frame-type structure differ, so the effect on size and seekability is directly attributable.
A keyframe every 8 frames with scene-cut detection disabled, so the GOP length is exactly what it says. Short GOPs cost bitrate but bound seek latency: the trade-off streaming packagers make explicitly. Same picture and same codec as every other clip in this group; only the GOP and frame-type structure differ, so the effect on size and seekability is directly attributable.
Exactly one keyframe, at the start. Maximally efficient and nearly unseekable: a player must decode from frame zero to reach any position, which is what makes long-GOP archives painful to scrub. Same picture and same codec as every other clip in this group; only the GOP and frame-type structure differ, so the effect on size and seekability is directly attributable.
A 2.0 second 640x480 H.264 clip at 24 fps, 49 frames. Animated from the still nss-n-cat-window_00001_.png, so the first frame is a known image and frame extraction can be checked against it. Measured mean inter-frame change 0.0182 (moderate). Clear movement without a scene change, which is the ordinary case for short footage. Synthetic footage: two seconds at this size is a decoder and pipeline fixture rather than showcase material, hands degrade in later frames, and no text in shot is legible.
The input a super-resolution tool is given: the published clip /files/video/comfy-realism-v1/cat-window.mp4 reduced from 640x480 to 160x120 by an exact 4x area downscale, over all 49 frames at 24.0 fps. Because the reduction is an exact integer factor of a clip that is already in this catalogue, anything a tool produces from this file can be MEASURED against the original rather than judged by eye. For reference, a plain bicubic enlargement back to 640x480 scores 32.598 dB PSNR and 0.917 SSIM against that original - the number any model has to beat to be worth running.
The 160x120 input in this group restored to 640x480 by Real-ESRGAN x4plus (BSD-3-Clause), frame for frame with all 49 frames intact, so it compares directly against the published ground truth /files/video/comfy-realism-v1/cat-window.mp4. Measured with ffmpeg's own filters it scores 31.398 dB PSNR and 0.932 SSIM; the same degraded input enlarged by plain bicubic scores 32.598 dB and 0.917, so the two metrics DISAGREE: -1.20 dB of PSNR against it, +0.0150 of SSIM for it. That is the signature of a perceptual upscaler - it invents texture, which restores structure while moving individual pixels further from the original, and it is why a super-resolution result reported as one number is not reportable. Both figures are measurements against the same original, which is what makes them comparable at all.
Four named chapters (Cold Open, Titles, Main Segment, Credits) on two-second boundaries. The clip burns the chapter name and a running timecode into the picture, so the chapter marks can be verified by eye against what the player's chapter menu claims. Matroska stores chapters as a proper EditionEntry structure with nanosecond timestamps and per-language names, and every desktop player exposes them. This is the reference case.
Four named chapters (Cold Open, Titles, Main Segment, Credits) on two-second boundaries. The clip burns the chapter name and a running timecode into the picture, so the chapter marks can be verified by eye against what the player's chapter menu claims. MP4 has no chapter box. FFmpeg writes them as a QuickTime chapter track (a hidden text track referenced by the video track), which QuickTime, VLC and most desktop players read and which browsers ignore completely. Remux this to MKV and back and the chapters usually survive; convert it with a tool that maps streams individually and they usually do not.
FFmpeg's own metadata format, and the one used to build the two embedded-chapter files in this group. START and END are integers in the declared TIMEBASE, which is the detail that trips people up: change TIMEBASE and every timestamp silently means something else. This is the exact file the MKV and MP4 chapter fixtures here were built from.
The XML dialect `mkvmerge` and `mkvpropedit` read to write chapters into a Matroska file without re-muxing it. Timestamps are nanosecond-precision `HH:MM:SS.nnnnnnnnn`, and each ChapterAtom carries a UID that must be stable across edits: the field most hand-written generators omit, which is why re-running them renumbers every chapter.
The same clip with the chapter marks explicitly removed. The control for this group, and the file that tells you whether a chapter reader returns an empty list or reports the whole-file duration as a single unnamed chapter: both are common, and they are not the same answer.
The plain-text convention used in video descriptions: `M:SS Title`, one per line, first entry at zero. There is no specification, so every parser guesses, at leading zeros, at `HH:MM:SS` versus `M:SS`, at whether a dash or a dot separates the timestamp from the title. Useful for testing a scraper against the format people actually paste.
A WebVTT file intended for `<track kind="chapters">` rather than `kind="subtitles"`. Structurally it is an ordinary WebVTT file, which is the point, nothing inside it says 'chapters', so the same bytes behave as captions if the kind attribute is wrong, and the chapter titles are rendered over the video as subtitles. A common and very visible mistake.
A 2.0 second 640x480 H.264 clip at 24 fps, 49 frames. Animated from the still nss-p-kitchen-chef_00001_.png, so the first frame is a known image and frame extraction can be checked against it. Measured mean inter-frame change 0.0287 (moderate). Clear movement without a scene change, which is the ordinary case for short footage. Synthetic footage: two seconds at this size is a decoder and pipeline fixture rather than showcase material, hands degrade in later frames, and no text in shot is legible.
The input a super-resolution tool is given: the published clip /files/video/comfy-realism-v1/kitchen-chef.mp4 reduced from 640x480 to 160x120 by an exact 4x area downscale, over all 49 frames at 24.0 fps. Because the reduction is an exact integer factor of a clip that is already in this catalogue, anything a tool produces from this file can be MEASURED against the original rather than judged by eye. For reference, a plain bicubic enlargement back to 640x480 scores 27.165 dB PSNR and 0.861 SSIM against that original - the number any model has to beat to be worth running.
The 160x120 input in this group restored to 640x480 by Real-ESRGAN x4plus (BSD-3-Clause), frame for frame with all 49 frames intact, so it compares directly against the published ground truth /files/video/comfy-realism-v1/kitchen-chef.mp4. Measured with ffmpeg's own filters it scores 28.023 dB PSNR and 0.906 SSIM; the same degraded input enlarged by plain bicubic scores 27.165 dB and 0.861, so it beats bicubic on both, by +0.86 dB and +0.0450 SSIM. Both figures are measurements against the same original, which is what makes them comparable at all.
A 2.1 second 512x288 H.264 clip at 8 fps, 17 frames. Generated from a text prompt alone, kept as the low-resolution, non-standard-frame-rate case that decoder tests need and photographic clips do not provide. Measured mean inter-frame change 0.0174 (moderate). Clear movement without a scene change, which is the ordinary case for short footage. Synthetic footage: two seconds at this size is a decoder and pipeline fixture rather than showcase material, hands degrade in later frames, and no text in shot is legible.
A 2.0 second 640x480 H.264 clip at 24 fps, 49 frames. Animated from the still nss-g-fantasy-keep_00001_.png, so the first frame is a known image and frame extraction can be checked against it. Measured mean inter-frame change 0.0051 (subtle). Motion is deliberate but slight, closer to a living photograph than to action. Synthetic footage: two seconds at this size is a decoder and pipeline fixture rather than showcase material, hands degrade in later frames, and no text in shot is legible.
The input a super-resolution tool is given: the published clip /files/video/comfy-realism-v1/game-keep.mp4 reduced from 640x480 to 160x120 by an exact 4x area downscale, over all 49 frames at 24.0 fps. Because the reduction is an exact integer factor of a clip that is already in this catalogue, anything a tool produces from this file can be MEASURED against the original rather than judged by eye. For reference, a plain bicubic enlargement back to 640x480 scores 34.952 dB PSNR and 0.906 SSIM against that original - the number any model has to beat to be worth running.
The 160x120 input in this group restored to 640x480 by Real-ESRGAN x4plus (BSD-3-Clause), frame for frame with all 49 frames intact, so it compares directly against the published ground truth /files/video/comfy-realism-v1/game-keep.mp4. Measured with ffmpeg's own filters it scores 34.455 dB PSNR and 0.923 SSIM; the same degraded input enlarged by plain bicubic scores 34.952 dB and 0.906, so the two metrics DISAGREE: -0.50 dB of PSNR against it, +0.0170 of SSIM for it. That is the signature of a perceptual upscaler - it invents texture, which restores structure while moving individual pixels further from the original, and it is why a super-resolution result reported as one number is not reportable. Both figures are measurements against the same original, which is what makes them comparable at all.
A 24 second 512x288 H.264 film at 24 fps, 576 frames, written with the moov atom first so it can be seeked before it has finished downloading. Twelve generated segments crossfaded into one continuous take. Across 575 transitions the mean inter-frame change is 0.0139 and the strongest single transition is 0.1614, with 0 above 0.3. A deliberate hard cut between two unrelated films measures 0.311 by the same method, so the worst join here sits 0.1496 below a real cut. At eleven times the length of any other clip in this library, it is the only footage here long enough to seek through, chapter, or scrub. Stylised rather than photographic: this is the 1.3B model at 512x288, the subject drifts over 24 seconds, and a dark rendering artefact recurs in a few frames. It is a fixture for duration, seeking and stitch measurement, not showcase footage.
