text:
Lightspeed Launches New Flagship eCommerce Solution to Retail Customers
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Lightspeed eCommerce integrates the top features of Ecwid giving customers the tools to unlock their true omnichannel potential
MONTREAL, Oct. 28, 2021 /CNW/ - Lightspeed (NYSE: LSPD) (TSX: LSPD), the one-stop commerce platform for merchants around the world to simplify, scale and create exceptional customer experiences, announced today a new flagship eCommerce product built on the integration of its acquisition of Ecwid, a leading, global eCommerce platform. This launch is an important step in providing retailers a powerful, flexible, and unified offering for eCommerce and omnichannel solutions.
Lightspeed eCommerce offers a new starting point for merchants to join the Lightspeed ecosystem and grow their businesses with the help of sophisticated in-store and online commerce tools, advanced data, simple product ordering functionality and streamlined access to suppliers.
"Commerce has evolved beyond a basic online store or a single-function POS. True modern commerce is meeting your buyers where they are, whether that's on TikTok or Main Street," said Dax Dasilva, Founder and CEO, Lightspeed. "Lightspeed eCommerce represents the omnichannel vision that we have believed in for years: that retail merchants need to be able to scale and customize tools to fit their unique business without compromise, whether they operate primarily online, in-store, or both. We're proud of the rapid progress we've made on this integration to further improve our offering for our customers."
The benefits and features of Lightspeed eCommerce include:
Easy to use and set up
Lightspeed eCommerce is a great fit for retailers who have minimal to no eCommerce experience. Setting up an online business is incredibly easy, with advanced features every merchant can take advantage of to grow their business.
So much more than just a web store
Designed to perform in a world of ever-changing online consumer behaviour, Lightspeed eCommerce empowers merchants to sell directly on social media, online marketplaces, and search engines. This includes a direct partnership with TikTok, allowing Lightspeed's merchants to seamlessly access core functions of TikTok For Business Ads Manager without leaving the platform.
Simplify and unify omnichannel operations
Connecting the online and in-store platforms, Lightspeed retail merchants will be able to reduce the time spent on managing inventory, orders, and product details. Elevate the shopping experience with a suite of customer management features that are proven to boost sales (like abandoned cart recovery) and customer communication tools.
"I really wanted something that had my in-store point of sale and online store incorporated into one. I didn't want to have to deal with two different sets of inventory and constantly having to update," said Bellies and Babies owner Kassandra McMillan. "Lightspeed eCommerce is all-in-one and nice and simple. I don't have the time or the knowledge to go and build a website, so the fact that it's been so easy to use is really refreshing."
Lightspeed eCommerce is now available to all of Lightspeed's retail merchants around the world including customers that recently joined through the ShopKeep and Vend acquisitions.
About Lightspeed
Powering the businesses that are the backbone of the global economy, Lightspeed's one-stop commerce platform helps merchants innovate to simplify, scale and provide exceptional customer experiences. Our cloud commerce solution transforms and unifies online and physical operations, multichannel sales, expansion to new locations, global payments, financial solutions and connection to supplier networks.
Founded in Montréal, Canada in 2005, Lightspeed is dual-listed on the New York Stock Exchange (NYSE: LSPD) and Toronto Stock Exchange (TSX: LSPD). With teams across North America, Europe and Asia Pacific, the company serves retail, hospitality and golf businesses in over 100 countries.
For more information, see www.lightspeedhq.com
Follow us on social media: LinkedIn, Facebook, Instagram, YouTube, and Twitter.
This news release may include forward-looking information and forward-looking statements within the meaning of applicable securities laws ("forward-looking statements"), including information regarding Lightspeed's product offerings and planned product roadmap. Forward-looking statements are statements that are predictive in nature, depend upon or refer to future events or conditions and are identified by words such as "will", "expects", "anticipates", "intends", "plans", "believes", "estimates" or similar expressions concerning matters that are not historical facts. Such statements are based on current expectations of Lightspeed's management and inherently involve numerous risks and uncertainties, known and unknown, including economic factors. A number of risks, uncertainties and other factors may cause actual results to differ materially from the forward-looking statements contained in this news release, including, among other factors, those risk factors identified in our most recent Management's Discussion and Analysis of Financial Condition and Results of Operations, under "Risk Factors" in our most recent Annual Information Form, and in our other filings with the Canadian securities regulatory authorities and the U.S. Securities and Exchange Commission, all of which are available under our profile on SEDAR at www.sedar.com and on EDGAR at www.sec.gov. Readers are cautioned to consider these and other factors carefully when making decisions with respect to Lightspeed's subordinate voting shares and not to place undue reliance on forward-looking statements. Forward-looking statements contained in this news release are not guarantees of future performance and, while forward-looking statements are based on certain assumptions that Lightspeed considers reasonable, actual events and results could differ materially from those expressed or implied by forward-looking statements made by Lightspeed. Except as may be expressly required by applicable law, Lightspeed does not undertake any obligation to update publicly or revise any such forward-looking statements, whether as a result of new information, future events or otherwise.
Victoria Baker
NKPR
victoriab@nkpr.net
Cydoney Curran
cydoney@nkpr.net
Lightspeed Media Relations
media@lightspeedhq.com
View original content to download multimedia:https://www.prnewswire.com/news-releases/lightspeed-launches-new-flagship-ecommerce-solution-to-retail-customers-301410506.html
SOURCE Lightspeed Commerce Inc.
Multimedia Files:


Economists continue to offer relatively pessimistic views on the strength and immediacy of the recovery. A few comparisons of the current recession and recovery with prior economic cycles illustrate why there is guarded optimism. The charts in the Special Report provide a timeline comparison of the recent recession and recovery with past downturns and recoveries.


CIPDD is a unique GLP-accredited biomedical discovery-translation and new drug/biologic development centre that is a major strategic asset of UQ, Queensland and Australia. We promote our world-class R&D capabilities to industry via the brand name, TetraQ. CIPDD personnel are proud to work in close collaboration with industry and academic groups in Australia and internationally assisting them to progress their intellectual property through the steps needed for commercialization into therapeutic products for improving human health. Since commencing operations in May 2005, CIPDD personnel have conducted 660+ TetraQ-branded R&D studies in collaboration with ~220 industry and academic entities. In addition, we have an outstanding track record in collaboration with industry and academic groups on competitive grant-funded research projects.
Professor Maree Smith—Leading researcher internationally in the pain field with three of her patented analgesics technologies licensed for commercialisation.
Technology discovered by CIPDD is being developed by Spinifex Pharmaceuticals (recently acquired by Novartis international).


Rebecca Ackroyd (b. 1987, Cheltenham, UK) lives and works in London.
She graduated from the Royal Academy Schools in 2015 after completing her BA in Fine Art at Byam Shaw School of Art in 2010.
Galleri Opdahl is proud to present the exhibition Drain by Rebecca Ackroyd. This will be the artists first solo exhibition with the gallery after taking part in the group show Opals, curated by Vincent Honoré in 2016. Galleri Opdahl is also very pleased to announce a solo presentation of the artists at Art Berlin, 14-17th of September 2017.
An interview with Rebecca Ackroyd by Vincent Honoré about her body of work will be made available September 6th.
Is it heavy or is it light, Assembly Point, London (2016); With institutions like these, Averard Hotel, London (2016); Opals, Galerie Opdahl, Stavanger, Norway, curated by Vincent Honoré (2016); Royal Academy Schools Degree Show, London; Works in Residence, David Roberts Art Foundation, London; and The London Open, Whitechapel Gallery, London. In 2013, her work was included in Bloomberg New Contemporaries (ICA, London and Spike Island, Bristol).


The crown is made with two gold pairs — plaits and tallies. See the accompanying diagram. Start at A and follow the direction of arrows to work. Side sewings into the head and into the frame.
1. You will need 1 pair gold, 1 white for the flower, which is also shown in the accompanying diagram.
2. Hang the pairs at the tip of the beak, plait to A. Leave a good-sized pinhole (twist each pair three times) at the beginning of the tally, make a white tally to B, double (side) sewing into the frame. Double sewing: made the same way as a regular sewing, but each pair is used as if it were a single thread.
3. Plait back to A, making the plait slightly too long, so that it outlines the tally.
5. Double false plait from A to , double sewing into . Double false plait: *TCTC, make a single sewing over the the existing plait*; repeat from * to * as many times as necessary.
6. Plait to D, leave a good-sized pinhole, plait to E. Make tallies and plaits as from A.
7. Double false plait from E to D, plait to H. Make the flower petals like the leaves, but using gold thread for tally weaver.
8. Double false plait back to the beak, plait to N and O, double false plait from O to N, plait to P, make another leaf twig (white tallies), double false plait from P to N and then back to where you started at the tip of the beak.


Horst P. Horst (1906-1999) was one of the great photographers of 20th century fashion and high society. German by birth, he initially studied design and carpentry under Gropius, before moving to Paris in 1930 to work as an apprentice to Le Corbusier. Now, if that wasn't heady enough, it was here that Horst met his mentor and partner Baron George Hoyningen-Huene. The Baron taught him not just about photography but expanded the young mans' artistic horizons with visits to galleries in Paris and London. He also introduced him to many influential creative people.
A great success as a photographer from the start, Horst was encouraged to work at French Vogue and quickly became its principal photographer. In fact, over his long career, he produced 94 covers for the magazine.
Throughout the 30s, Horst acquired an international reputation as a fashion and society photographer. In his work of this time, one can see him experimenting with expressionist lighting and form. He also introduces more and more surrealist elements into the pictures. However, these are all underpinned by a classical sensibility that remains with Horst throughout his career. One can also see traces of Cecil Beaton, whom Horst knew. Yet despite all these influences, he refines a style all his own. At times formal, always dramatic and often playful.
The first part of the exhibition naturally enough focuses on Horst's early work in Paris. From the start his visual inventiveness and technical skills are apparent. Beautifully lit, sumptuous and with great depth of field, the photographs on display really capture that Interwar period glamour. The pictures are also beautifully and harmoniously composed.
We see how Horst meticulously developed his style in the studio. Every element is considered, every figure formally posed so as to fit as part of the whole composition. Little or nothing is left to chance. A rare film shows Horst working in his studio. He can be seen using a large plate camera. One is on display nearby.
Horst's social connections were impeccable. In addition to stars such as Noël Coward and Gertrude Lawrence, he took defining portraits of Hollywood royalty. Rita Hayworth, Joan Crawford and Vivian Leigh all posed for his camera. I particularly liked his photograph of Bette Davies that playfully reveals her intelligence and humour. It was also a pleasure to see the faces of the many models he so elegantly captured.
One of the most interesting aspects of this current show is the emphasis on Horst's photography beyond the worlds of fashion and society. I really liked his images of ancient Persepolis. In particular, the Bull' Head in all it's dramatic contrast. For documentary work, he used the famous Rollerflex camera. An example being on display.
We see also his accomplished, beautiful nudes and lovely patterns derived from natural forms. These were produced during a period when Horst became dissatisfied at American Vogue. The show explores the wider ranges of his photographic activity and includes the process that led to famous images like the influential Mainbocher Corset.
The exhibition examines the influence of surrealism on his work. We see the evolution of his collaborations with Salvador Dali. In addition to the photographs, sketchbooks are also included. These are interesting as they illustrate how Horst developed certain visual ideas. They show his classical sensibility.
On display too are garments that add to the period feel of the exhibition. Created by the designers of the time photographed by Horst. He was on friendly terms with designers like Chanel and Schiaparelli.
Suddenly we are in a world of colour. Laid out before us are the editions of Vogue, the covers of which his photographs adorn. On the walls are 25 beautiful large scale colour reproductions of pictures taken from the Conde Nast Archive. They are derived from Horst's original transparencies. I spoke to two of the people involved in the restoration of these pictures. Not only was the most technically advanced means used to recapture the quality of the originals, but extensive research into period colour products was made. The results speak for themselves. Although retouched and printed larger than originally intended, they make a huge impact on the spectator in evoking the 'look' of the time. Horst's sense of colour is a joy to behold.
Later in his life, Horst received many honours and much recognition. He photographed the luxurious interiors of the rich and famous. A three sided projection evokes many of these pictures, and an interactive console allows the visitor to examine in greater detail those whom Horst pictured.
In conclusion, this exhibition is a revealing portrait of the artist. It will appeal to those who appreciate good photography and simultaneously relish the faded glamour of a great lost age of fashion and high society.


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Posted on March 26, 2012 by ryan77	112 Comments
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ryan77 on August 27, 2014 at 5:00 pm said:
If you mean license, please send me email receipt for purchase of my music and I can send written license to use, thanks.
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Melissa Jargo on July 8, 2014 at 2:13 pm said:
I would love to be able to download some of these for free but can't get it to work.
If its the free ones under the media player store you would probably have to be on a destop and right click then choose save download file as.
Karla on September 14, 2014 at 1:58 am said:
How do I get free music using MAC? it doesn't give me the option when i Control-Click (right click?) I'm trying to use your music as my son's background music for his 1st bday slideshow. Thanks!
ryan77 on September 21, 2014 at 3:58 pm said:
On the free music under the pay store just right click on blue song title and select "download linked file as" then just pick a spot on your computer to download it to.
me on September 24, 2014 at 6:33 pm said:
I purchased a song, but got no place to download it? Where can I download it? I bought it in MP3 file but want it in the zip file. Plis help 🙂
ryan77 on October 7, 2014 at 5:08 pm said:
When you purchase a song you will get a instant download link right after purchase in your paypal email. Please check your spam inbox it may have gone in there. Email me at Sophonicmedia with proof of purchase and I will be happy to manually send them over to you.
Thanks for your purchase!
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Can you make some music for.me..????
Thanks.again……
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Hi I just got a new computer but I purchased and downloaded this song on my old computer is there anyway i can download it again?
Send me the title of the song you need to my email at sophonicmedia@yahoo.com
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Hi I am looking for music for a video I'm making your website says it's free but I'm a little lost at how you actually download it? Let me know if I am wrong?
ryan77 on November 24, 2014 at 3:49 am said:
Under the store media player there is a few selections of free music, just right click on them and choose "Save as", name what you want and file will save to your computer. Thanks!
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Hi, we are doing a promotion youtube video and will let it be freely public downloaded by anyone. This video is for promotion of our products. Can we buy your music in zip format, which has written license file?
Yes, that is fine as long as you are not selling the free downloads or other people won't be posting them to use as there own, basically getting free music. Thanks.
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Is it OK if I use some of this music as background music for a youtube video as long as I give credit to Sophonic in the description?
ryan77 on February 28, 2015 at 7:11 pm said:
Sorry but if its to be used on Youtube and its not in the free section below the store it does have to be purchased and licensed. Thanks!
Vicky on February 23, 2015 at 2:55 pm said:
I would like to download one of your tracks. It says it is $6, how much would this cost when downloading from the UK?
Are there any other extra costs?
Sorry not sure what the conversion rate is off hand, you'll have to google that.
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can i get the music instrumental free as long as i credit your website on my school project ??
ryan77 on April 2, 2015 at 7:29 pm said:
There are a few songs available for free under the store/paid player but all the other music has to be purchased/licensed.
Chris on March 28, 2015 at 11:11 pm said:
Firstly, I wanted to say that you have some great work.
I just purchased the standard licence for $6 entitled "Inspiring". it mentions in the licence that "Lyrics or other instruments cannot be added to this song and then become a new song owned by anyone but me.(without special permission and arrangement)" does this mean, if i put lyrics over your music, you will own the copyright to them too?
MrMoranMusic
Hello, it just means my music cannot me made into someone else's song. You can't sing lyrics over the music and then call it your song or you would not have copyrights or any ownership even with your addition. Of course you can do that for fun but not in any commercial money making capacity. Hope this helps clear things up. Thanks, Ryan
Monica Silva on April 24, 2015 at 4:24 pm said:
HI! I just bought one of your songs with license (Happy Upbeat)
I didn't understand if i can use this music as background in more than one video or not (in youtube). Can you please help me? Thank you
ryan77 on June 22, 2015 at 5:46 pm said:
Hello as long as the videos are all on the same channel one license/purchase will do for use on multiple videos. Thanks!
benny1023 on May 29, 2015 at 7:57 am said:
So ryan, im allowed to use it on my youtube videos just as long as i buy 6 dollar ones right ? (ones with license). just to just clarify.
And also would you like my to credit your website and your music as well ?
It would benefit both of us greatly if you say so.
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Thanks benny
Yep, the $6 version includes a license especially for use on Youtube and allows you to monetize your videos. A credit link would be much appreciated, "Music by Sophonic Media, http://www.instrumentalsfree.com" would work. Thanks for the kind words.
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Thank You for the kind words!
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Hi Ryan, I have just bought a track from your account. How do I access the track?
ryan77 on July 28, 2015 at 11:27 pm said:
When you purchase you get re-directed to a download page and as backup the store also sends email with download links, check spam inbox. Thanks for the purchase!!
Ben on July 17, 2015 at 6:03 am said:
How is the free if its costs $6.00 – more expensive than the hits
Not all my music is free, I have to pay the bills somehow?? Its $6.00 because it comes with a license for use so people can use for presentations and monetizing and making money off their videos. The hit songs are cheaper because they are just for listening, I have some music available on iTunes if you would like to purchase for listening purposes only. Thanks!
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Hi, I'm a publisher from Thailand, DMGBooks.
We are the first publisher in Thailand to produce audio books for the blind and less fortunate people for free distribution. You may visit our website at http://www.dmgbooks.com
We would like to buy the license of Powerful Inspirational Background Music for Presentation, to use for our audio book. Please could you let us know the fee as well as how to proceed further. We tried to click on the basket button above but it didn't work.
And if we would like to buy several of your music pieces, which are very nice, will there be a package deal for several songs?
Thank you so much and look forward to hearing from you soon.
Keep up the great work and uplifting music for the world.
Please email me directly at sophonicmedia @yahoo.com thanks!!
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HI rayan, I've just bought 3 of your amazing tracks from the tuneport box. I was redirected to the download page and I downloaded the tracks, but I couldn't find the license's pdf . Is the license the purchase's confirmation mail I received?
ryan77 on August 22, 2015 at 6:27 am said:
Just sent you an email! Thanks!
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Hello, sorry but at the moment its my own site that I use to sell my music and give away a couple of freebies.
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I'm not sure if my previous comment posted, but just in case I wanted to say thank you for the music, it completed my video. Here's the link: https://youtu.be/IDXVYouBpCk
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Thank you for this music. this awesome
youngchu on April 15, 2016 at 4:41 am said:
wow.. your music is good !! ^^. very cheap
Aditya on April 21, 2016 at 3:43 pm said:
Wow… Such an uplifting music. I just loved all the tracks. Just want to know how to download.
Peter Nadado on May 10, 2016 at 2:30 pm said:
Hello.Thank so much for this music.
Mohamadnabilfikry on May 21, 2016 at 9:17 am said:
Thank you very much yooo…aswome
Kenny G on August 1, 2016 at 3:46 pm said:
Thanks for the music, much appreciated
mia on August 2, 2016 at 6:55 pm said:
Yes yes yes.so fantastic!
SHASHANK KUMAR DUBEY on September 7, 2016 at 3:17 am said:
I want background music of songs
chapman on October 4, 2016 at 12:53 pm said:
Your music is amazing!I love it.God bless you.
David Wang on October 24, 2016 at 2:58 am said:
Hello, if I buy the standard license for $6, can I use your music in publicity video of new product?
Please kindly let me know, thank you.
ryan77 on June 22, 2017 at 12:26 pm said:
Yep, thanks
Gabor on October 31, 2016 at 6:47 pm said:
Dear Ryan, i'm in the same situation like someone in the previous comment, that I've just bought of your tracks from tuneport. I was redirected to the download page and I downloaded the tracks, but I couldn't find the license. Can you send me some details about it? Thank you very much. Your music is awesome. 🙂
Thanks for the purchase and kind words. You can email me at ( sophonic media@yahoo.com ) if you need help.
htnbleonm on November 15, 2016 at 5:53 am said:
very sweet music .
Imran on November 16, 2016 at 11:33 am said:
Thanks a ton dude….your stuff rocks!!
Surfer Pat on December 6, 2016 at 8:09 pm said:
Free?!? These songs costs money!!! If you didn't know!!! Which I doubt you don't, Free means doesn't cost anything!!!
Oh! And just saying, it is good music!
A couple are free and some are paid. Got kids to feed and bills.
Joseph on February 9, 2017 at 5:55 pm said:
Jin on February 21, 2017 at 1:48 am said:
Thanks for the music
Sharon Jacques on April 12, 2017 at 12:00 am said:
Hi I downloaded and paid to use one of your pieces. I'm adding it to my You Tube video. I tried your link above "simply visit THIS PAGE, enter your details and video link " and it didn't work.
Looks like it is working fine now. Thanks!
Mirjam on April 21, 2017 at 11:24 am said:
Hello, the page we are supposed to visit to clear copyright claims, doesn't exist.
(adrev.netcontact-us)
Hmmm, just tried it and that link seems to work fine. Thanks!
WD Flet on May 9, 2017 at 6:30 pm said:
Slideshow was prepared for family viewing.
Arthur Zepeda on May 9, 2017 at 7:55 pm said:
Thank you! One of the tracks will go great for a teaser video I am making for my sons main Graduation from High School video! The track is so good I may use it in the main video! Thank you!
Great, glad you could use my music for a great memory!
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Polygroup Summer Waves Pool Filter upgrade to Intex Sand Filter 2800 with custom fitting directions for skimmer Connections.
Indie Folk Background Music
inspirational music instrumental
Cheerful Background Music
Dramatic Background Music

redpajama_set_name: RedPajamaCommonCrawl


Should I marry a girl that has been proposed to?
Is it permissible to marry deceased son's wife?
Is it compulsory to accept a Sayyid's proposal?
I have fallen in love with another man, but my parents won't allow me to marry him.
Can I marry my father's second wife?
Can I go forward with my marriage?
My parents want me to marry her. What should I do?
Who is responsible for dowry and wedding costs?
If a couple is not involved romantically, when will the nikāhbreak?
1. Is muslim man is allow to marry a christian or hindu women ? 2. Is muslim women is allow to marry to christian or hindu man?
Four years ago I had nikah in front of 2 witness from boy's side and there was one qazi along who recite Khudbaa of our nikaah and that qazi saab was also from boy side in this situation there was no one from my side I was alone. Both our parents werent informed about this nikah. What should we have to do now?
Does a man have hijaab from his wifes step mother?
I dont think i can talk to my parent about my marriage with the cousin nor any close relatives.So should i try to say her directly thru my another close cousin that i want to marry her in future ?
A year ago I had my engagement with my cousin. In the one year I fell in love with another girl and that girl also loves me. I want marry that girl and tell my family but family refuses my requst and forced me to marry with my cousin.
I am in a relationship with my cousin sister and we both respect our families. So according to islam is it legal for me to marry her? If my family is against this marriage what should I do?
Is it permitted to marry a girl who's 3 years older than me when I am 23?
I currently had my Nikkah done about 2 months ago and after the nikkah we provided dinner for the guest in the masjid hall. Both of our parents want a big reception/ruskati. Could you please let me know what we can do or say to our parents to not complete this and have our marriage the Islamic way?
Is there any dua to be recited before a man is married so that he will get a rightious wife in future?


He has made us misunderstand God.
And love white and black as well.
Wouldn't I call Grace gray?
Now, black has become white.
I am Bamigbola Silas kehinde. I'm a Writer, Teacher, Public Speaker and an Engineering Student. I love to write (both poem and prose). I love the Lord, He is my all In all, I do things his ways and above all I just want everybody to realize how much better it is to do things God's way; by preaching to people through my writing and teaching skills .
conversehouse on To An Inveterate Arguer.
From the male folks.… on A Letter To The Female folks.
Bamigbola Silas kehi… on Darkness!
What Do You Take In And Chew?


text:
Michael Phelps celebrates Olympic gold with a kiss for baby Boomer
August 10, 2016	 by HOLA! USA
Even though it was his dad Michael Phelps who brought home the gold at the Olympics, his son, baby Boomer Phelps, also one a pretty awesome prize: an adorable kiss from his proud dad. After Michael, 31, secured his 20th gold medal and 24th overall in the Men's 200m Butterfly on Tuesday evening in Rio, the champion swimmer made his way to the cheering section to share his excitement with his little boy.
The Olympic champion was greeted with kisses from his fiancé Nicole Johnson, 31, before she held their son over the railing so he could show his dad some love. Michael's mother Deborah Phelps, also shared a moment with her son, hugging him close and crying tears of joy.
CLICK BELOW FOR FULL GALLERY
Michael kisses Boomer after bringing home gold medal number 20 Photo: Getty Images
MICHAEL AND BOOMER'S BEST FATHER-SON MOMENTS
Baby Boomer, who made his debut in May, has stolen the hearts of Olympic fans around the world since making his debut in the stands during his dad's pre-Olympic trials. The adorable 3-month old has been seen supporting his father in patriotic "MP" gear and catching a few naps during races.
Before his father's jam-packed night in the pool, a photo of Boomer waking up and ready to cheer the Maryland native on was posted on his Instagram account.
"Time to wake up!!! Daddy is racing soon," read the caption alongside a pic of the littlest Phelps letting out a big yawn in his mommy's arms.
Michael's mom and fiancé were in the stands to cheer him on Photo: Getty Images
Boomer and the rest of the Phelps clan didn't have to wait much longer before they celebrated once more. Seventy minutes after receiving the gold for Team USA in his signature event, Michael anchored fellow Team USA swimmers Ryan Lochte, Conor Dwyer and Townley Haas, to the gold during the Men's 4x200m Freestyle.
While his father is on a winning streak, Boomer continues to also win hearts across the world. On Sunday night, all eyes were on the tot, who wore a red, white and blue onesie and adorable noise-canceling headphones when his father brought home gold medal number 19.
Boomer has been stealing the show in his patriotic "MP" gear Photo: Instagram/@boomerrphelps
ALL THE BEHIND-THE-SCENES MOMENTS FROM THE 2016 OLYMPICS
According to Michael, there is more "MP" fashion coming from Boomer for the remainder of the Olympic games. "He's going to have some cool outfits on, that's for sure. You've got to check him out," the history-making Olympian said during an interview with US Weekly. "I've gotten some photos of him — Boomer will be dressed to impress in the stands, that's for sure."
We can't wait to see more adorable moments from Michael's biggest (and tiniest!) fan.
Boomer Phelps
Jennifer Lopez reacts to her first Golden Globe nomination in over 20 years: Watch
Every celebrity spotted in Miami during Art Basel 2019
Sofia Vergara reveals an impressive never-before-seen talent in new video
Ally Brooke honors Selena Quintanilla with a special performance at Miss Universe 2019 pageant
Cardi B gets candid on making marriage work and her million dollar plan for daughter Kulture
Camila Cabello honors the 'first man that really loved me,' her dad, in a sweet post
Michael Phelps' gold-winning dad moments with Boomer
Simone Biles and Aly Raisman make their Sports Illustrated Swimsuit edition debut
Ryan Lochte suspended: See the full photo timeline, from his Rio triumph to the career-damaging 'robbery'...
Ryan Lochte admits to lying and explains why he is doing 'Dancing with the Stars'


Share this special occasion with your family and friends in the elegant surroundings of Fairlawn Mansion.
Choose the formal parlor for a small, romantic ceremony seating 20 guests, or the bride may wish to make her entrance down the Grand Staircase to the spacious landing, where we can accommodate 65 seated guests in the main hallway with full view of the ceremony.
Receptions for up to 125 guests and formal dinners for up to 65 can be held in the beautifully restored formal rooms on the first floor of the mansion.
Rental fees are based on number of invited guests and combination of ceremony, reception or seated dinner. Fees range from $200 for a small ceremony only, up to $580 for a ceremony and reception accommodating up to 125 guests.
*Catering costs are separate from rental fees and paid directly to your caterer. China, stainless steel place setting, and stemware are available for groups up to 65 for an additional fee. Your event may be extended at a cost of $100 per hour.
We require a down payment of one-half the fee to reserve your date. In the event of a cancellation, there is a $50 non-refundable administrative fee.
The first floor is fully handicap accessible. White or blush wine only (no reds or dark colored punch). No smoking is allowed inside the mansion. No open flames with the exception of unity candles and Sterno with permission. Photography is allowed only with permission. Items on display and furnishings in the museum must be respected. Guests are not allowed in "Staff Only" areas.


Good starter home or investment property located in the quaint neighbourhood of St. Boniface. 820 sq ft, two bedroom, one full bath, bungalow style home. Home does require some TLC. Fair sized backyard. Single car garage. Very close to public transportation and lots of amenities near by.
AFFORDABLE STARTER HOME OR INVESTMENT PROPERTY! CONVENIENTLEY LOCATED IN SUNNY ST. JAMES CLOSE TO POLO PARK, PUBLIC TRANSPORTATION, SCHOOLS, AND MUCH MORE. TOTAL OF 3 BEDROOMS. NEW FURNACE. LOW PROPERTY TAXES.


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Take a look into the hidden universe through a telescope using light amplification technology
Unistellars patent-pending light amplification technology enables conventional telescopes to pick out distant star clusters and galaxies in finer detail
A French startup has developed a telescope for enthusiasts and consumers that makes it possible for people to view nebulas and galaxies from their own homes without needing to have access to an expensive research telescope.
Unistellar is the brainchild of Dr Arnaud Malvache, a scientist working in signal processing of biological images for the French national research body CNRS and currently stationed at Aix-Marseille University.
Malvache is a keen amateur astronomer who began inventing a new type of telescope in his spare time using patent-pending light amplification technology in early 2015 to help people explore the skies in greater detail, due to feeling frustrated by the limitations of consumer products today.
In a standard telescope, you cant see much. There are only four planets that you can really observe – the rest are too far or too small. When you want to see other objects, you are disappointed because they are hard to find and you just see grey clouds due to low luminosity, Malvache, Unistellars chief executive, told IBTimes UK at the Slush 2016 tech conference in Helsinki, Finland.
So we have designed the amplified vision telescope that integrates light, uses algorithms to process images and then projects the results directly into the eye piece of the telescope.
How the telescope works
The amplified vision telescope works using a special low-light sensor that works together with an on-board computer contained in the eyepiece. The startup has developed computer algorithms that treat the image seen by the telescope and perform field recognition in order to make the image much clearer, almost as if it comes from a Nasa space telescope.
And to make the experience richer, the onboard computer is also able to cross-reference the image seen through the telescope against a widely-used scientifically-verified database of astronomical objects in order to tell you which nebula or galaxy you happen to be looking at.
Unistellar is currently developing an eye piece that can be adapted by existing telescopes, as well as a full compact, lightweight, automated telescope that follows sky rotation and points automatically at objects. The startup plans to debut the products at CES 2017 in January and hopefully ship it later in the year.
The telescope is developed with consumers and astronomy enthusiasts in mind. As such it will be priced competitively against other existing consumer telescopes, and the creators will offer API support to enable different applications in the future.
Now you too can help protect Earth by tracking asteroids
Scientists are concerned that near-Earth asteroids have the power to destroy big cities if they enter the Earths atmosphere and become meteors, like the 2013 Chelyabinsk meteor event in Russia, which damaged over 7,200 buildings and injured 1,500 people in six different cities in the Urals region.
The total kinetic energy produced by the meteor was equivalent to 29 times the energy released by the Hiroshima atomic bomb, and there are concerns that a large enough asteroid could even destroy the Earth and wipe out mankind.
To help prevent this, Unistellar wants to encourage people to participate in citizen science to help keep a lookout for dangers. The startup is working with an engineer who recently retired from the French space agency to build the capability into their products to create of a network of installed telescopes that search for asteroids and then send their findings to scientists to analyse.
Its a good way to participate in science as you can do it yourself. You have to go outside and use your own devices. Near-earth objects [like asteroids or comets] need to be well characterised so scientists are really interested in having a network of devices available to see asteroids from different angles, explained Malvache.
People can provide data that will be used to characterise the asteroids so we know more about their shape and trajectory to prevent them from hitting Earth.


text:
Crime / Culture / Lifestyle / Politics / Science / Society
The transgender life: It's not just about becoming a girl, it's about becoming an ATTRACTIVE chick!
October 16, 2014 - by benign0 - 21 Comments.
One thing that the brouhaha over the murder of Jeffrey Laude (allegedly by Private First Class Joseph Scott Pemberton of the United States Marine Corps) revealed is that Filipino transgenders live in legal limbo in the Philippines. No less than the Philippine Supreme Court is reportedly "confused" over how to regard them. The publisher of that report the Inquirer.net, in contrast, refers to Laude as a "she" in the spirit of the Associated Press Stylebook which prescribes the use of the "pronoun preferred by the individuals who have acquired the physical characteristics of the opposite sex or present themselves in a way that does not correspond with their sex at birth."
The issue of gender is really a simple one at a fundamental level.
As can be noted above, political-correctness demands the use of many words to articulate its principles. But it is often the principles that require the least words that are usually the most likely to be sound. And when it comes to gender, you only need two letters that represent DNA strands to settle the issue — X and Y. The elegant simplicity of the way science defines gender has, of course, not stopped human society from adding a layer of unnecessary complexity on top of it.
This cultural conceptual layer has grown resonant among "progressives" in recent years to the point that male transgenders have gone as far as demanding that they be included as contestants in female beauty contests. In 2012, they had convinced no less than Donald Trump, owner of the Miss Universe Organization (MUO) to consider this proposal. A rule requiring contestants to be "naturally born" human females was originally applied by the MUO. But LGBT activist criticised this as being "an antiquated rule grounded in prejudice, fear and stereotypes". Some of these activists asserted that the Miss Universe contest is a beauty contest and "not a vagina contest" (transgenders do have a vagina of course, a man-made one perhaps, but a vagina nonetheless).
[NB: Incidentally, this makes for interesting political "debate" when one considers how Philippine Senator Miriam Santiago once insisted that the next president of the Philippines should have a vagina.]
Technically, however, the surgical procedures involved in sex change are cosmetic and highly-intrusive, requiring a lifetime of maintenance. Consider then what transgenders and/or transsexuals have to go through to achieve this feat of anatomical re-engineering.
When changing anatomical sex from male to female, the testicles are removed and the skin of foreskin and penis is usually inverted, as a flap preserving blood and nerve supplies to form a fully sensitive vagina (vaginoplasty). A clitoris fully supplied with nerve endings (innervated) can be formed from part of the glans of the penis. If the patient has been circumcised (removal of the foreskin), or if the surgeon's technique uses more skin in the formation of the labia minora, the pubic hair follicles are removed from some of the scrotal tissue, which is then incorporated by the surgeon within the vagina. Other scrotal tissue forms the labia majora.
Results may vary. However, in the best cases, when recovery from surgery is complete, it is often very difficult for anyone, including gynecologists, to detect that someone has undergone vaginoplasty. Because the human body treats the new vagina as a wound, however, any current technique of vaginoplasty requires some long-term maintenance of volume (vaginal dilation), by the patient, using medical graduated dilators, dildos, or suitable substitutes, to keep the vagina open. It is very important to note that sexual intercourse is not always an adequate method of performing dilation.
There wouldn't be much point to the surgical changes performed on sexual organs unless other aspects of the person are modified to resemble the female anatomy — specifically aspects of it that weigh heavily on attracting heterosexual males. Facial feminization surgery (FFS) is a set of reconstructive surgical procedures that alter typically male facial features to bring them closer in shape and size to typical female facial features. FFS can include includes various bony and soft tissue procedures such as brow lift, rhinoplasty, cheek implantation, and lip augmentation. Breast implantations is the enlargement of breasts, which some trans women choose if hormone therapy does not yield satisfactory results. Some individuals may elect to have voice surgery altering the range or pitch of the person's vocal cords. Tracheal shaves are also sometimes used to reduce the cartilage in the area of the throat to conform to more feminine dimensions, to greatly reduce the appearance of an Adam's apple. Because male hips and buttocks are generally smaller than those of a female, some MTF individuals will choose to undergo buttock augmentation.
In short, most transgenders males not only want to become a woman, they want to become one that is attractive to heterosexual men.
But what exactly is feminine beauty from the perspective of the average red-blooded straight male? The best way to explore the implications of this question is to understand why the notion of feminine beauty exists to begin with. In other words, why do heterosexual men take certain specific qualities in a woman as bases for determining how "beautiful" she is? Why, for example are men generally attracted to women who sport long thick shiny hair, smooth soft skin, a slender waist, proportionately broad hips, full lips, full breasts, and facial symmetry among others? All of these qualities seem to offer no significant survival advantage in the wild (i.e. a "beautiful" individual is not necessarily more adept at acquiring food or evading predators than an "ugly" individual). So they obviously evolved and survived natural selection because they offered individuals that possessed these features an advantage when it comes to attracting sexual partners (which is a key step to propagating one's genes).
Many of the "beautiful" qualities highlighted in beauty contests involving females are fitness indicators. Heterosexual human males have evolved a finely-tuned mate selection mechanism that carefully evaluates prospects on the basis of these — and many of these aim to send out one primary message: this specimen is fertile and healthy!! And because youth is a big determinant of female fertility, many of these fitness indicators are reliable gauges of youthfulness. Indeed, it is mainly most of these that tend to degrade most quickly with age — most prominently the luster of hair, the fullness of lips, and the suppleness of skin. So, unsurprisingly, much of the products hawked by the beauty industry centres around these three main features that strongly determine female "beauty" in the eyes of heterosexual men.
In short, beauty is not in the eye of the beholder, but in the survival agenda of our unique individual DNA sequence.
Thus, one cannot deny that beauty pageants are won on the basis of standards set by what human heterosexual males have been programmed by tens of thousands of years of evolution to find "beautiful" in human females. It is for this simple reason that the highlight of the Miss Universe pageant — and most other conventional beauty pageants for that matter — is the swimsuit competition portion of the contest. After all, when else is the executive summary of the mating call (and fertility advertising) of each contestant most evident than when there is not much on to degrade the signals being sent out by the candidates' fitness indicators?
This reality of the human species has created the multi-billion-dollar beauty and cosmetic surgery industry. Unfortunately it has also created an entire community of individuals who use modern technology to artificially enhance — and even completely alter — their appearance for the purpose of circumventing natural selection.
[NB: Parts of this article were lifted off the Wikipedia.org articles "Sex reassignment surgery (male-to-female)" and "Facial feminization surgery" and used in accordance with that site's Creative Commons Attribution-ShareAlike License consistent with the same license applied by Get Real Post to its content. Photo courtesy The Guardian UK.]
Taggedactivismbeautycosmetic surgerydonald trumpevolutionary psychologygay rightsgenderhomosexualityjeffrey laudejoseph scott pembertonlgbtmilitarymiriam santiagomiss universeolongapo citypolitical correctnesssexsexualitysubic baysurgerytransgendertranssexualunited statesus marine corpsvaginavisiting forces agreement
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Q: Why FFMPEG Screen recorded video is fast? I created a screen recorder with FFMPEG lib by referring this question .But the problem is that the recorded video is too fast.If i record screen for 20 seconds , I would get a video of less than 10 seconds.Video have full content but it is playing so fast that it will complete in 6 to 10 seconds.
I tried by changing pts values of packets and frames to Elapsed time in millisecond ie.
outPacket->pts=timer->ElapsedTimeM()*90 and outFrame->pts=timer->ElapsedTimeM()*90

Now I am getting approximate correct length video (19 sec). But the frame rate of the video is 16 to 15fps only.But my expected frame rate is 30fps.
I counted the frames by counting no of times the while (av_read_frame(ifmt_ctx, av_pkt) >= 0)  loop is running and I got  40 times (for a 20 sec video) .I think all frames are not passing to the encoder because for a 20 sec video in 30fps it should contain (30*20)600 frames at least.
So my question is how can i produce a full length video with 30fps frame rate which can play at normal speed?
My UPDATED code is below
 #define __STDC_CONSTANT_MACROS
#include<iostream>
#include <chrono>
extern "C"
{
#include <libavcodec/avcodec.h>
#include <libavformat/avformat.h>
#include <libavdevice/avdevice.h>
#include <libavutil/imgutils.h>
#include <libswscale/swscale.h>
}
using namespace std;
class Timer
{
    chrono::time_point<chrono::system_clock> start;
public:

    Timer() {};
    void StartTimer()
    {
        start = chrono::system_clock::now();
    };

    __int64 ElapsedTime()
    {
        return chrono::duration_cast<chrono::seconds>(chrono::system_clock::now() - start).count();
    }
    __int64 ElapsedTimeM()
    {
        return chrono::duration_cast<chrono::milliseconds>(chrono::system_clock::now() - start).count();
    }
};
int main(int argc, char** argv)
{
    const char* out_filename = "new_out.mp4";
    avdevice_register_all();
    AVOutputFormat* ofmt = NULL;
    AVInputFormat* ifmt = NULL;
    AVFormatContext* ifmt_ctx = avformat_alloc_context();
    AVFormatContext* ofmt_ctx = avformat_alloc_context();
    AVCodecParameters* av_codec_par_in = avcodec_parameters_alloc();
    AVCodecParameters* av_codec_par_out = avcodec_parameters_alloc();
    AVCodecContext* avcodec_contx = NULL;
    AVCodec* av_codec;

    AVStream* video_stream = NULL;
    av_codec_par_out->height = 600;
    av_codec_par_out->width = 800;
    av_codec_par_out->bit_rate = 40000;
    av_codec_par_out->codec_id = AV_CODEC_ID_H264; //AV_CODEC_ID_MPEG4; //Try H.264 instead of MPEG4
    av_codec_par_out->codec_type = AVMEDIA_TYPE_VIDEO;
    av_codec_par_out->format = 0;
    av_codec_par_out->sample_aspect_ratio.den = 4;
    av_codec_par_out->sample_aspect_ratio.num = 6;

    AVDictionary* options = NULL;

    av_dict_set(&options, "framerate", "30", 0);
   /* av_dict_set(&options, "offset_x", "20", 0);
    av_dict_set(&options, "offset_y", "40", 0);*/
    av_dict_set(&options, "video_size", "800x600", 0);
    av_dict_set(&options, "probesize", "42M", 0);
    av_dict_set(&options, "rtbufsize", "100M", 0);
    av_dict_set(&options, "preset", "ultrafast", 0);

    //int ret, i;
    ifmt = av_find_input_format("gdigrab");

    if (avformat_open_input(&ifmt_ctx, "desktop", ifmt, &options) < 0)
    {
        cout << "Error in opening file";
        exit(1);
    }
    int VideoStreamIndx = -1;
    avformat_find_stream_info(ifmt_ctx, NULL);
    /* find the first video stream index . Also there is an API available to do the below operations */
    for (int i = 0; i < (int)ifmt_ctx->nb_streams; i++) // find video stream position/index.
    {
        if (ifmt_ctx->streams[i]->codecpar->codec_type == AVMEDIA_TYPE_VIDEO)
        {
            VideoStreamIndx = i;
            break;
        }

    }
    if (VideoStreamIndx == -1)
    {
        cout << "\nunable to find the video stream index. (-1)";
        exit(1);
    }
    av_codec_par_in = ifmt_ctx->streams[VideoStreamIndx]->codecpar;
    av_codec = avcodec_find_decoder(av_codec_par_in->codec_id);
    if (av_codec == NULL)
    {
        cout << "\nunable to find the decoder";
        exit(1);
    }
    avcodec_contx = avcodec_alloc_context3(av_codec);

    //Consider using preset and crf
    av_opt_set(avcodec_contx->priv_data, "preset", "ultrafast", 0);
    //av_opt_set(avcodec_contx->priv_data, "crf", "18", 0);

    if (avcodec_parameters_to_context(avcodec_contx, av_codec_par_in) < 0)
    {
        cout << "\nerror in converting the codec contexts";
        exit(1);
    }

    //av_dict_set
    int value = avcodec_open2(avcodec_contx, av_codec, NULL);//Initialize the AVCodecContext to use the given AVCodec.
    if (value < 0)
    {
        cout << "\nunable to open the av codec";
        exit(1);
    }
    value = 0;

    ofmt = av_guess_format(NULL, out_filename, NULL);

    if (!ofmt)
    {
        cout << "\nerror in guessing the video format. try with correct format";
        exit(1);
    }
    avformat_alloc_output_context2(&ofmt_ctx, ofmt, NULL, out_filename);

    if (!ofmt_ctx)
    {
        cout << "\nerror in allocating av format output context";
        exit(1);
    }
    AVCodec* av_codec_out = avcodec_find_encoder(av_codec_par_out->codec_id);
    if (av_codec_out == NULL)
    {
        cout << "\nunable to find the encoder";
        exit(1);
    }
    video_stream = avformat_new_stream(ofmt_ctx, av_codec_out);
    if (!video_stream)
    {
        cout << "\nerror in creating a av format new stream";
        exit(1);
    }
    AVCodecContext* av_cntx_out;
    av_cntx_out = avcodec_alloc_context3(av_codec_out);
    if (!av_cntx_out)
    {
        cout << "\nerror in allocating the codec contexts";
        exit(1);
    }

    if (avcodec_parameters_copy(video_stream->codecpar, av_codec_par_out) < 0)
    {
        cout << "\nCodec parameter canot copied";
        exit(1);
    }
    if (avcodec_parameters_to_context(av_cntx_out, av_codec_par_out) < 0)
    {
        cout << "\nerror in converting the codec contexts";
        exit(1);
    }

    //av_cntx_out->pix_fmt = AV_PIX_FMT_YUV420P;
    av_cntx_out->gop_size = 30;//3; //Use I-Frame frame every second.
    av_cntx_out->max_b_frames = 2;
    av_cntx_out->time_base.num = 1;
    av_cntx_out->time_base.den = 30;
   // av_cntx_out->ticks_per_frame = 10;

    value = avcodec_open2(av_cntx_out, av_codec_out, NULL);//Initialize the AVCodecContext to use the given AVCodec.
    if (value < 0)
    {
        cout << "\nunable to open the av codec";
        exit(1);
    }
    if (avcodec_contx->codec_id == AV_CODEC_ID_H264)
    {
        av_opt_set(av_cntx_out->priv_data, "preset", "ultrafast", 0);
    }
    avio_open(&ofmt_ctx->pb, out_filename, AVIO_FLAG_READ_WRITE);
    if (ofmt_ctx->oformat->flags & AVFMT_GLOBALHEADER)
    {
        av_cntx_out->flags |= AV_CODEC_FLAG_GLOBAL_HEADER;
    }
    if (avformat_write_header(ofmt_ctx, NULL) < 0)
    {
        cout << "\nerror in writing the header context";
        exit(1);
    }
    AVPacket* av_pkt = av_packet_alloc();
    //av_init_packet(av_pkt); //error C4996: 'av_init_packet': was declared deprecated
    memset(av_pkt, 0, sizeof(AVPacket)); //???

    AVFrame* av_frame = av_frame_alloc();
    if (!av_frame)
    {
        cout << "\nunable to release the avframe resources";
        exit(1);
    }
    AVFrame* outFrame = av_frame_alloc();//Allocate an AVFrame and set its fields to default values.
    if (!outFrame)
    {
        cout << "\nunable to release the avframe resources for outframe";
        exit(1);
    }

    av_frame->width = avcodec_contx->width;
    av_frame->height = avcodec_contx->height;
    av_frame->format = av_codec_par_in->format;
    outFrame->width = av_cntx_out->width;
    outFrame->height = av_cntx_out->height;
    outFrame->format = av_codec_par_out->format;
    av_frame_get_buffer(av_frame, 0);
    av_frame_get_buffer(outFrame, 0);

    SwsContext* swsCtx = sws_alloc_context();
    if (sws_init_context(swsCtx, NULL, NULL) < 0)
    {
        cout << "\nUnable to Initialize the swscaler context sws_context.";
        exit(1);
    }
    swsCtx = sws_getContext(avcodec_contx->width, avcodec_contx->height, avcodec_contx->pix_fmt,
        av_cntx_out->width, av_cntx_out->height, av_cntx_out->pix_fmt,
        SWS_FAST_BILINEAR, NULL, NULL, NULL);
    if (swsCtx == NULL)
    {
        cout << "\n Cannot allocate SWC Context";
        exit(1);
    }
    int ii = 0;
    int enc_packet_counter = 0;  //Count encoded frames.
    int no_frames = 100;
  /*  cout << "\nenter No. of frames to capture : ";
    cin >> no_frames;*/
    //int flag;
    int frameFinished;
    //int got_picture;
    int frame_index = 0;
    AVPacket* outPacket = av_packet_alloc();
    Timer* timer = new Timer();
    timer->StartTimer();
    int j = 0;
    while (av_read_frame(ifmt_ctx, av_pkt) >= 0)
    {
       /* if (ii++ == no_frames)
            break;*/
        int iElapsedtime = timer->ElapsedTimeM();
        int pts = iElapsedtime * 90;
        if (iElapsedtime >20000)
            break;
        /*cout << ii++ <<"\n";*/
            int ret = avcodec_send_packet(avcodec_contx, av_pkt);
            if (ret < 0)
            {
                printf("Error while sending packet");
            }

            frameFinished = true;
            int response = 0;
            response = avcodec_receive_frame(avcodec_contx, av_frame);

            if (response < 0) //&& (response != AVERROR(EAGAIN)) && (response != AVERROR_EOF))
            {
                printf("Error while receiving frame from decoder");
                frameFinished = false;
            }

            if (frameFinished)// Frame successfully decoded :)
            {
                //av_init_packet(outPacket); //error C4996: 'av_init_packet': was declared deprecated
                memset(outPacket, 0, sizeof(AVPacket)); //???

                outPacket->data = NULL;    // packet data will be allocated by the encoder
                outPacket->size = 0;
                outPacket->pts = av_rescale_q(enc_packet_counter, av_cntx_out->time_base, video_stream->time_base); //???
                //if (outPacket->dts != AV_NOPTS_VALUE)
                //    outPacket->dts = av_rescale_q(enc_packet_counter, av_cntx_out->time_base, video_stream->time_base); //???
                outPacket->dts = av_rescale_q(enc_packet_counter, av_cntx_out->time_base, video_stream->time_base); //???
                outPacket->duration =av_rescale_q(1, av_cntx_out->time_base, video_stream->time_base); //???

                outFrame->pts = av_rescale_q(enc_packet_counter, av_cntx_out->time_base, video_stream->time_base);           //???
                outFrame->pkt_duration = av_rescale_q(enc_packet_counter, av_cntx_out->time_base, video_stream->time_base);  //???
                enc_packet_counter++;

                //Apply color space conversion from BGRA to YUV420p using sws_scale
                ////////////////////////////////////////////////////////////////
                int sts = sws_scale(swsCtx,                 //struct SwsContext *c,
                    av_frame->data,         //const uint8_t *const srcSlice[],
                    av_frame->linesize,     //const int srcStride[],
                    0,                      //int srcSliceY,
                    av_frame->height,       //int srcSliceH,
                    outFrame->data,         //uint8_t *const dst[],
                    outFrame->linesize);    //const int dstStride[]);

                if (sts < 0)
                {
                    printf("Error while executing sws_scale");
                }
                ////////////////////////////////////////////////////////////////

                int ret = 0;
                //int i = 0;
                do
                {
                    //cout << i++ << "\n";
                    if (ret == AVERROR(EAGAIN))
                    {
                        av_packet_unref(outPacket);
                        ret = avcodec_receive_packet(av_cntx_out, outPacket);
                        if (ret) break; // deal with error

                        outPacket->duration = av_rescale_q(1, av_cntx_out->time_base, video_stream->time_base); //???

                        av_write_frame(ofmt_ctx, outPacket);
                    }
                    else if (ret != 0)
                    {
                        char str2[] = "";
                        cout << "\nError :" << av_make_error_string(str2, sizeof(str2), ret);
                        return -1;
                    }

                    ret = avcodec_send_frame(av_cntx_out, outFrame);
                } while (ret);

            } // frameFinished
            av_packet_unref(av_pkt);
            av_packet_unref(outPacket);
    }

    // flush the rest of the packets ???
    ////////////////////////////////////////////////////////////
    int ret = 0;
    //int i = 0;
    avcodec_send_frame(av_cntx_out, NULL);
    do
    {
        av_packet_unref(outPacket);
        //cout << i++ << "\n";
        ret = avcodec_receive_packet(av_cntx_out, outPacket);
        if (!ret)
        {

            outPacket->pts = av_rescale_q(enc_packet_counter, av_cntx_out->time_base, video_stream->time_base); //???
            outPacket->dts = av_rescale_q(enc_packet_counter, av_cntx_out->time_base, video_stream->time_base); //???
            outPacket->duration = av_rescale_q(1, av_cntx_out->time_base, video_stream->time_base); //???
            av_write_frame(ofmt_ctx, outPacket);
            enc_packet_counter++;
        }
    } while (!ret);
    ////////////////////////////////////////////////////////////

    value = av_write_trailer(ofmt_ctx);
    if (value < 0)
    {
        cout << "\nerror in writing av trailer";
        exit(1);
    }

    //THIS WAS ADDED LATER
    /*av_free(video_outbuf);*/
    avformat_close_input(&ifmt_ctx);
    if (!ifmt_ctx)
    {
        cout << "\nfile closed successfully";
    }
    else
    {
        cout << "\nunable to close the file";
        exit(1);
    }

    avformat_free_context(ifmt_ctx);
    if (!ifmt_ctx)
    {
        cout << "\navformat free successfully";
    }
    else
    {
        cout << "\nunable to free avformat context";
        exit(1);
    }

    //Free codec context.
    ////////////////////////////////////////////////////////////
    avcodec_free_context(&av_cntx_out);

    if (!av_cntx_out)
    {
        cout << "\navcodec free successfully";
    }
    else
    {
        cout << "\nunable to free avcodec context";
        exit(1);
    }

    ////////////////////////////////////////////////////////////

    return 0;
}

A: You may test my code, I can't reproduce your problem.
Make sure you are not using a Debug version of libav (version that is built without optimization).
Here is the code I used for testing:
#define __STDC_CONSTANT_MACROS
#include <iostream>
#include <chrono>
#include <string>

extern "C"
{
#include <libavcodec/avcodec.h>
#include <libavformat/avformat.h>
#include <libavdevice/avdevice.h>
#include <libavutil/imgutils.h>
#include <libswscale/swscale.h>
}
using namespace std;

AVCodecContext* GetCodecContextFromPar(AVCodecParameters* par)
{
    AVCodecContext* cntxt = NULL;
    cntxt = avcodec_alloc_context3(avcodec_find_decoder(par->codec_id));
    avcodec_parameters_to_context(cntxt, par);
    return cntxt;
}

int AvCodecDecodeVideo2(AVCodecContext* avctx, AVFrame* frame, int* got_picture_ptr, const AVPacket* avpkt)
{

    int ret = avcodec_send_packet(avctx, avpkt);
    if (ret < 0)
    {
        return -1;
        *got_picture_ptr = 0;
    }

    while (ret >= 0)
    {
        ret = avcodec_receive_frame(avctx, frame);

    }
    *got_picture_ptr = 1;
    return 0;

}

int main(int argc, char** argv)
{
    int framerate = 30;
    int width = 800;
    int height = 600;
    int no_frames = 100;

    //const char* out_filename = "D:\\myfolder\\to\\output\\new_out.mp4";
    const char* out_filename = "new_out.mp4";
    avdevice_register_all();
    AVOutputFormat* ofmt = NULL;
    AVInputFormat* ifmt = NULL;
    AVFormatContext* ifmt_ctx = avformat_alloc_context();
    AVFormatContext* ofmt_ctx = avformat_alloc_context();
    AVCodecParameters* av_codec_par_in = avcodec_parameters_alloc();
    AVCodecParameters* av_codec_par_out = avcodec_parameters_alloc();
    AVCodecContext* avcodec_contx = NULL;
    AVCodec* av_codec;

    AVStream* video_stream = NULL;
    av_codec_par_out->width = width;
    av_codec_par_out->height = height;
    av_codec_par_out->bit_rate = 40000;
    av_codec_par_out->codec_id = AV_CODEC_ID_H264; //AV_CODEC_ID_MPEG4; //Try H.264 instead of MPEG4
    av_codec_par_out->codec_type = AVMEDIA_TYPE_VIDEO;
    av_codec_par_out->format = 0;
    av_codec_par_out->sample_aspect_ratio.den = 3;
    av_codec_par_out->sample_aspect_ratio.num = 4;

    AVDictionary* options = NULL;

    //Try adding "-rtbufsize 100M" as in https://stackoverflow.com/questions/6766333/capture-windows-screen-with-ffmpeg
    av_dict_set(&options, "rtbufsize", "100M", 0);

    av_dict_set(&options, "framerate", std::to_string(framerate).c_str(), 0);
    av_dict_set(&options, "offset_x", "20", 0);
    av_dict_set(&options, "offset_y", "40", 0);
    av_dict_set(&options, "video_size", (std::to_string(width)+"x"+std::to_string(height)).c_str(), 0); //av_dict_set(&options, "video_size", "640x480", 0);
    //int ret, i;
    ifmt = av_find_input_format("gdigrab");

    if (avformat_open_input(&ifmt_ctx, "desktop", ifmt, &options) < 0)
    {
        cout << "Error in opening file";
        exit(1);
    }
    int VideoStreamIndx = -1;
    avformat_find_stream_info(ifmt_ctx, NULL);
    /* find the first video stream index . Also there is an API available to do the below operations */
    for (int i = 0; i < (int)ifmt_ctx->nb_streams; i++) // find video stream position/index.
    {
        if (ifmt_ctx->streams[i]->codecpar->codec_type == AVMEDIA_TYPE_VIDEO)
        {
            VideoStreamIndx = i;
            break;
        }

    }
    if (VideoStreamIndx == -1)
    {
        cout << "\nunable to find the video stream index. (-1)";
        exit(1);
    }
    av_codec_par_in = ifmt_ctx->streams[VideoStreamIndx]->codecpar;
    av_codec = avcodec_find_decoder(av_codec_par_in->codec_id);
    if (av_codec == NULL)
    {
        cout << "\nunable to find the decoder";
        exit(1);
    }
    avcodec_contx = avcodec_alloc_context3(av_codec);

    //Consider using preset and crf
    //av_opt_set(avcodec_contx->priv_data, "preset", "fast", 0);
    //av_opt_set(avcodec_contx->priv_data, "crf", "18", 0);

    if (avcodec_parameters_to_context(avcodec_contx, av_codec_par_in) < 0)
    {
        cout << "\nerror in converting the codec contexts";
        exit(1);
    }

    av_dict_set(&options, "r", std::to_string(framerate).c_str(), 0);   //Do we have to set the framerate?

    //av_dict_set
    int value = avcodec_open2(avcodec_contx, av_codec, NULL);//Initialize the AVCodecContext to use the given AVCodec.
    if (value < 0)
    {
        cout << "\nunable to open the av codec";
        exit(1);
    }
    value = 0;

    ofmt = av_guess_format(NULL, out_filename, NULL);

    if (!ofmt)
    {
        cout << "\nerror in guessing the video format. try with correct format";
        exit(1);
    }
    avformat_alloc_output_context2(&ofmt_ctx, ofmt, NULL, out_filename);

    if (!ofmt_ctx)
    {
        cout << "\nerror in allocating av format output context";
        exit(1);
    }
    AVCodec* av_codec_out = avcodec_find_encoder(av_codec_par_out->codec_id);
    if (av_codec_out == NULL)
    {
        cout << "\nunable to find the encoder";
        exit(1);
    }
    video_stream = avformat_new_stream(ofmt_ctx, av_codec_out);
    if (!video_stream)
    {
        cout << "\nerror in creating a av format new stream";
        exit(1);
    }
    AVCodecContext* av_cntx_out;
    av_cntx_out = avcodec_alloc_context3(av_codec_out);
    if (!av_cntx_out)
    {
        cout << "\nerror in allocating the codec contexts";
        exit(1);
    }

    if (avcodec_parameters_copy(video_stream->codecpar, av_codec_par_out) < 0)
    {
        cout << "\nCodec parameter canot copied";
        exit(1);
    }

    if (avcodec_parameters_to_context(av_cntx_out, av_codec_par_out) < 0)
    {
        cout << "\nerror in converting the codec contexts";
        exit(1);
    }

    av_cntx_out->gop_size = 30;//3; //Use I-Frame frame every 30 frames.
    av_cntx_out->max_b_frames = 2;
    av_cntx_out->time_base.num = 1;
    av_cntx_out->time_base.den = framerate;

    avio_open(&ofmt_ctx->pb, out_filename, AVIO_FLAG_READ_WRITE);

    if (avformat_write_header(ofmt_ctx, NULL) < 0)
    {
        cout << "\nerror in writing the header context";
        exit(1);
    }

    value = avcodec_open2(av_cntx_out, av_codec_out, NULL);//Initialize the AVCodecContext to use the given AVCodec.
    if (value < 0)
    {
        cout << "\nunable to open the av codec";
        exit(1);
    }

    if (avcodec_contx->codec_id == AV_CODEC_ID_H264)
    {
        //av_opt_set(av_cntx_out->priv_data, "preset", "slow", 0);  //"slow" may be a problem...
        av_opt_set(av_cntx_out->priv_data, "preset", "fast", 0);
    }

    if (ofmt_ctx->oformat->flags & AVFMT_GLOBALHEADER)
    {
        av_cntx_out->flags |= AV_CODEC_FLAG_GLOBAL_HEADER;
    }

    AVPacket* av_pkt = av_packet_alloc();
    //av_init_packet(av_pkt); //error C4996: 'av_init_packet': was declared deprecated
    memset(av_pkt, 0, sizeof(AVPacket)); //???

    AVFrame* av_frame = av_frame_alloc();
    if (!av_frame)
    {
        cout << "\nunable to release the avframe resources";
        exit(1);
    }
    AVFrame* outFrame = av_frame_alloc();//Allocate an AVFrame and set its fields to default values.
    if (!outFrame)
    {
        cout << "\nunable to release the avframe resources for outframe";
        exit(1);
    }

    //int video_outbuf_size;
    //int nbytes = av_image_get_buffer_size(av_cntx_out->pix_fmt, av_cntx_out->width, av_cntx_out->height, 32);
    //uint8_t* video_outbuf = (uint8_t*)av_malloc(nbytes);
    //if (video_outbuf == NULL)
    //{
    //  cout << "\nunable to allocate memory";
    //  exit(1);
    //}

    av_frame->width = avcodec_contx->width;
    av_frame->height = avcodec_contx->height;
    av_frame->format = av_codec_par_in->format;
    outFrame->width = av_cntx_out->width;
    outFrame->height = av_cntx_out->height;
    outFrame->format = av_codec_par_out->format;
    av_frame_get_buffer(av_frame, 0);
    av_frame_get_buffer(outFrame, 0);

    //value = av_image_fill_arrays(outFrame->data, outFrame->linesize, video_outbuf, av_cntx_out->pix_fmt, av_cntx_out->width, av_cntx_out->height, 32); // returns : the size in bytes required for src
    //if (value < 0)
    //{
    //  cout << "\nerror in filling image array";
    //}
    SwsContext* swsCtx = sws_alloc_context();
    if (sws_init_context(swsCtx, NULL, NULL) < 0)
    {
        cout << "\nUnable to Initialize the swscaler context sws_context.";
        exit(1);
    }
    swsCtx = sws_getContext(avcodec_contx->width, avcodec_contx->height, avcodec_contx->pix_fmt,
        av_cntx_out->width, av_cntx_out->height, av_cntx_out->pix_fmt,
        SWS_FAST_BILINEAR, NULL, NULL, NULL);
    if (swsCtx == NULL)
    {
        cout << "\n Cannot allocate SWC Context";
        exit(1);
    }
    int ii = 0;
    int enc_packet_counter = 0;  //Count encoded frames.
    //cout << "\nenter No. of frames to capture : ";
    //cin >> no_frames;
    //int flag;
    int frameFinished;
    //int got_picture;
    int frame_index = 0;
    AVPacket* outPacket = av_packet_alloc();

    auto start = chrono::system_clock::now();
    uint64_t sum_elapsed_time_usec = 0;
    int elapsed_time_counter = 0;

    int j = 0;
    while (av_read_frame(ifmt_ctx, av_pkt) >= 0)
    {
        int elapsed_time_usec = (int)chrono::duration_cast<chrono::microseconds>(chrono::system_clock::now() - start).count();
        start = chrono::system_clock::now();

        if (ii > 0)
        {
            printf("elapsed_time_usec = %d\n", elapsed_time_usec);
            sum_elapsed_time_usec += (uint64_t)elapsed_time_usec;
            elapsed_time_counter++;
        }

        if (ii++ == no_frames)
            break;

        if (av_pkt->stream_index == VideoStreamIndx)
        {
            //value = AvCodecDecodeVideo2(avcodec_contx, av_frame, &frameFinished, av_pkt);
            //if (value < 0)
            //{
            //    cout << "unable to decode video";
            //    exit(1);
            //}
            int ret = avcodec_send_packet(avcodec_contx, av_pkt);
            if (ret < 0)
            {
                printf("Error while sending packet");
            }

            frameFinished = true;
            int response = 0;

            //av_frame_unref(av_frame); //???

            //do
            //{
            response = avcodec_receive_frame(avcodec_contx, av_frame);

            if (response < 0) //&& (response != AVERROR(EAGAIN)) && (response != AVERROR_EOF))
            {
                printf("Error while receiving frame from decoder");
                frameFinished = false;
            }
            //}
            //while (response == AVERROR(EAGAIN));

            if (frameFinished)// Frame successfully decoded :)
            {
                //av_init_packet(outPacket); //error C4996: 'av_init_packet': was declared deprecated
                memset(outPacket, 0, sizeof(AVPacket)); //???

                //int iHeight =sws_scale(swsCtx, av_frame->data, av_frame->linesize, 0, avcodec_contx->height, outFrame->data, outFrame->linesize);
                outPacket->data = NULL;    // packet data will be allocated by the encoder
                outPacket->size = 0;

                outPacket->pts = av_rescale_q(enc_packet_counter, av_cntx_out->time_base, video_stream->time_base);
                if (outPacket->dts != AV_NOPTS_VALUE)
                    outPacket->dts = av_rescale_q(enc_packet_counter, av_cntx_out->time_base, video_stream->time_base);
                outPacket->dts = av_rescale_q(enc_packet_counter, av_cntx_out->time_base, video_stream->time_base);
                outPacket->duration = av_rescale_q(1, av_cntx_out->time_base, video_stream->time_base);

                outFrame->pts = av_rescale_q(enc_packet_counter, av_cntx_out->time_base, video_stream->time_base);
                outFrame->pkt_duration = av_rescale_q(enc_packet_counter, av_cntx_out->time_base, video_stream->time_base);
                enc_packet_counter++;

                //Apply color space conversion from BGRA to YUV420p using sws_scale
                ////////////////////////////////////////////////////////////////
                int sts = sws_scale(swsCtx,                 //struct SwsContext *c,
                                    av_frame->data,         //const uint8_t *const srcSlice[],
                                    av_frame->linesize,     //const int srcStride[],
                                    0,                      //int srcSliceY,
                                    av_frame->height,       //int srcSliceH,
                                    outFrame->data,         //uint8_t *const dst[],
                                    outFrame->linesize);    //const int dstStride[]);

                if (sts < 0)
                {
                    printf("Error while executing sws_scale");
                }
                ////////////////////////////////////////////////////////////////

                int ret = 0;
                do
                {
                    if (ret == AVERROR(EAGAIN))
                    {
                        av_packet_unref(outPacket);
                        ret = avcodec_receive_packet(av_cntx_out, outPacket);
                        if (ret) break; // deal with error
                        outPacket->duration = av_rescale_q(1, av_cntx_out->time_base, video_stream->time_base);
                        av_write_frame(ofmt_ctx, outPacket);
                    }
                    else if (ret != 0)
                    {
                        char str2[] = "";
                        cout << "\nError :" << av_make_error_string(str2, sizeof(str2), ret);
                        return -1;
                    }

                    ret = avcodec_send_frame(av_cntx_out, outFrame);
                } while (ret);

            } // frameFinished

        }
    }// End of while-loop

    // flush the rest of the packets
    ////////////////////////////////////////////////////////////
    int ret = 0;
    avcodec_send_frame(av_cntx_out, NULL);
    do
    {
        av_packet_unref(outPacket);
        ret = avcodec_receive_packet(av_cntx_out, outPacket);
        if (!ret)
        {
            //outPacket->pts = av_rescale_q(enc_packet_counter, av_cntx_out->time_base, video_stream->time_base); <--- Bug: We shouldn't set PTS, DTS, and duration when flushing.
            //outPacket->dts = av_rescale_q(enc_packet_counter, av_cntx_out->time_base, video_stream->time_base);
            //outPacket->duration = av_rescale_q(1, av_cntx_out->time_base, video_stream->time_base);
            av_write_frame(ofmt_ctx, outPacket);
            //enc_packet_counter++;
        }
    } while (!ret);
    ////////////////////////////////////////////////////////////

    value = av_write_trailer(ofmt_ctx);
    if (value < 0)
    {
        cout << "\nerror in writing av trailer";
        exit(1);
    }

    //THIS WAS ADDED LATER
    /*av_free(video_outbuf);*/
    avformat_close_input(&ifmt_ctx);
    if (!ifmt_ctx)
    {
        cout << "\nfile closed successfully";
    }
    else
    {
        cout << "\nunable to close the file";
        exit(1);
    }

    avformat_free_context(ifmt_ctx);
    if (!ifmt_ctx)
    {
        cout << "\navformat free successfully";
    }
    else
    {
        cout << "\nunable to free avformat context";
        exit(1);
    }

    //Free codec context.
    ////////////////////////////////////////////////////////////
    avcodec_free_context(&av_cntx_out);

    if (!av_cntx_out)
    {
        cout << "\navcodec free successfully";
    }
    else
    {
        cout << "\nunable to free avcodec context";
        exit(1);
    }

    ////////////////////////////////////////////////////////////

    printf("\n\nAverage sum_elapsed_time_usec = %lf\n\n", (double)sum_elapsed_time_usec / (double)elapsed_time_counter);

    return 0;
}

Console output (while moving the Window):
[gdigrab @ 000001f0b7a461c0] Capturing whole desktop as 800x600x32 at (20,40)
[libx264 @ 000001f0b7a4de80] using SAR=4/3
[libx264 @ 000001f0b7a4de80] using cpu capabilities: MMX2 SSE2Fast SSSE3 SSE4.2 AVX
[libx264 @ 000001f0b7a4de80] profile High, level 3.1, 4:2:0, 8-bit
elapsed_time_usec = 3402
elapsed_time_usec = 3235
elapsed_time_usec = 19030
elapsed_time_usec = 33324
elapsed_time_usec = 33684
elapsed_time_usec = 33056
elapsed_time_usec = 49883
elapsed_time_usec = 18250
elapsed_time_usec = 48033
elapsed_time_usec = 16783
elapsed_time_usec = 49308
elapsed_time_usec = 17603
elapsed_time_usec = 32805
elapsed_time_usec = 50674
elapsed_time_usec = 16825
elapsed_time_usec = 32926
elapsed_time_usec = 34245
elapsed_time_usec = 34179
elapsed_time_usec = 32208
elapsed_time_usec = 33116
elapsed_time_usec = 33392
elapsed_time_usec = 32914
elapsed_time_usec = 34059
elapsed_time_usec = 36754
elapsed_time_usec = 45127
elapsed_time_usec = 17326
elapsed_time_usec = 33996
elapsed_time_usec = 32753
elapsed_time_usec = 33168
elapsed_time_usec = 33474
elapsed_time_usec = 36049
elapsed_time_usec = 50184
elapsed_time_usec = 14186
elapsed_time_usec = 35353
elapsed_time_usec = 73929
elapsed_time_usec = 54520
elapsed_time_usec = 28031
elapsed_time_usec = 26223
...
...
elapsed_time_usec = 49823
elapsed_time_usec = 19345
elapsed_time_usec = 47076
elapsed_time_usec = 17855
elapsed_time_usec = 33107
elapsed_time_usec = 33541
elapsed_time_usec = 49821
elapsed_time_usec = 18044
elapsed_time_usec = 47415
elapsed_time_usec = 16301
elapsed_time_usec = 33777
elapsed_time_usec = 34473
elapsed_time_usec = 49104
elapsed_time_usec = 16492
elapsed_time_usec = 33834
elapsed_time_usec = 32695
elapsed_time_usec = 32798
elapsed_time_usec = 33862

file closed successfully
avformat free successfully[libx264 @ 000001f0b7a4de80] frame I:203   Avg QP: 0.90  size:125931
[libx264 @ 000001f0b7a4de80] frame P:371   Avg QP: 2.60  size: 46555
[libx264 @ 000001f0b7a4de80] frame B:426   Avg QP: 3.74  size:  2560
[libx264 @ 000001f0b7a4de80] consecutive B-frames: 31.9% 16.8% 51.3%
[libx264 @ 000001f0b7a4de80] mb I  I16..4: 63.3%  0.4% 36.3%
[libx264 @ 000001f0b7a4de80] mb P  I16..4: 17.1%  0.3% 11.9%  P16..4:  5.5%  1.0%  0.8%  0.0%  0.0%    skip:63.4%
[libx264 @ 000001f0b7a4de80] mb B  I16..4:  0.5%  0.0%  0.3%  B16..8:  4.1%  0.1%  0.2%  direct: 0.3%  skip:94.5%  L0:37.4% L1:60.1% BI: 2.5%
[libx264 @ 000001f0b7a4de80] final ratefactor: -14.26
[libx264 @ 000001f0b7a4de80] 8x8 transform intra:0.6% inter:23.5%
[libx264 @ 000001f0b7a4de80] coded y,uvDC,uvAC intra: 27.4% 38.7% 38.6% inter: 3.1% 2.9% 2.8%
[libx264 @ 000001f0b7a4de80] i16 v,h,dc,p: 76% 23%  1%  0%
[libx264 @ 000001f0b7a4de80] i8 v,h,dc,ddl,ddr,vr,hd,vl,hu: 25% 24% 41%  1%  1%  3%  1%  0%  3%
[libx264 @ 000001f0b7a4de80] i4 v,h,dc,ddl,ddr,vr,hd,vl,hu: 35% 36% 12%  2%  3%  3%  4%  2%  4%
[libx264 @ 000001f0b7a4de80] i8c dc,h,v,p: 64% 23% 12%  2%
[libx264 @ 000001f0b7a4de80] Weighted P-Frames: Y:0.0% UV:0.0%
[libx264 @ 000001f0b7a4de80] ref P L0: 69.7%  9.3% 15.4%  5.6%
[libx264 @ 000001f0b7a4de80] ref B L0: 91.7%  7.0%  1.4%
[libx264 @ 000001f0b7a4de80] kb/s:3.51

avcodec free successfully

Average sum_elapsed_time_usec = 33848.571000

There are fluctuations, but the average is a about 33msec.

Using FFprobe to verify the timestamps correctness:
ffprobe -i new_out.mp4 -show_packets > 1.txt

I can't see any issues:
[PACKET]
codec_type=video
stream_index=0
pts=0
pts_time=0.000000
dts=-6000
dts_time=-0.066667
duration=3000
duration_time=0.033333
size=6069
pos=48
flags=K_
[/PACKET]
[PACKET]
codec_type=video
stream_index=0
pts=9000
pts_time=0.100000
dts=-3000
dts_time=-0.033333
duration=3000
duration_time=0.033333
size=7728
pos=6117
flags=__
[/PACKET]
[PACKET]
codec_type=video
stream_index=0
pts=3000
pts_time=0.033333
dts=0
dts_time=0.000000
duration=3000
duration_time=0.033333
size=151
pos=13845
flags=__
[/PACKET]
[PACKET]
codec_type=video
stream_index=0
pts=6000
pts_time=0.066667
dts=3000
dts_time=0.033333
duration=3000
duration_time=0.033333
size=78
pos=13996
flags=__
[/PACKET]
[PACKET]
codec_type=video
stream_index=0
pts=12000
pts_time=0.133333
dts=6000
dts_time=0.066667
duration=3000
duration_time=0.033333
size=1684
pos=14074
flags=__
[/PACKET]
[PACKET]
codec_type=video
stream_index=0
pts=15000
pts_time=0.166667
dts=9000
dts_time=0.100000
duration=3000
duration_time=0.033333
size=887
pos=15758
flags=__
[/PACKET]
[PACKET]
codec_type=video
stream_index=0
pts=18000
pts_time=0.200000
dts=12000
dts_time=0.133333
duration=3000
duration_time=0.033333
size=17105
pos=16645
flags=__
[/PACKET]
[PACKET]
codec_type=video
stream_index=0
pts=21000
pts_time=0.233333
dts=15000
dts_time=0.166667
duration=3000
duration_time=0.033333
size=26745
pos=33750
flags=__
[/PACKET]

redpajama_set_name: RedPajamaStackExchange


On Twitter, Tim Carmody says that "Digital Humanities can be a methodology for doing history, but it can also be a methodology in other disciplines too." My first response was to say that DH is not a methodology but a set of questions and concerns in search of a method, but now that I've thought about it, I would revise that: DH is a set of tools which tends to generate certain questions, but neither the tools nor the questions have yet coalesced into a method.
If there is one overriding theme in the DH conversations I've seen, it's "What should we do with all these fabulous toys?" The answers to that question that I've seen are speculative and even tentative: I think DH is still waiting for someone (someones) to come along with really distinctive, powerful, and useful ways to slice and serve the data we now have available to us.


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