Virtual AVI in Leitch dpsVelocity
Virtual AVI in Leitch dpsVelocity
|Creativecow.net Leitch dpsVelocity Tutorial
|John David Hutton
Kansas City, Kansas, USA
©2004 John David Hutton and Creativecow.net. All rights are reserved.
Virtual AVI: It sounds kind of cryptic but it's a very cool thing Leitch provides to VelocityQ users for free. In this article, John David Hutton tells us why and how to use it.
It sounds kind of cryptic but it's a very cool thing Leitch provides to VelocityQ users for free.
Think of it as a translator - it's the middle-man between your AVI-loving apps and your proprietary video format (files with extension .dps). It does 2 things, it lets you render OUT dps files from programs that wouldn't normally allow this and it lets you bring in dps files into programs that wouldn't normally allow it. For example, I use a popular 3D behemoth called Maya. Maya's never heard of the "dps" format nor does it care what it is. If I tried to bring in a dps file for use as a texture map for example I would get a polite but brief error message stating that I'm smoking crack and to please stop it. However, making a "virtual AVI" of the desired dps file allows Maya to read the AVI file and understand my "real" file just fine.
So what? What's the advantage to using this over just re-rendering my desired file into a format my program likes?
Speed, baby. Rendering .AVI files can be VERY slow. Plus it's a pain to house that huge AVI file on your drive just so you can take it into Maya for use as a texture map or Adobe Encore to (once again) render it into a format that can go on a DVD. Just to give you an idea on how fast it is to use the virtual AVI, click a key on your keyboard - that's about how fast it is ... literally. What's better, the resulting AVI file is a sliver of the original size. For example a 30 second clip of b-roll (no audio) costs me 250-300 KB. That's right, the "under a meg" kind of file sizes. The AVI does store sound though so it will be larger if you use the virtual AVI for a clip with audio, but no larger than you'd expect for a file with audio stored inside (like a .wav file).
Let's take a step-by-step below and see how this works, then I'll show you how to install it.
First we take an existing dps file on your hard drive and turn it into an .AVI for Encore.
1. Open your file explorer window (windows E or right-click on start and explore, or start > Programs > Accessories > windows explorer).
2. Right-click on a dps file (doesn't matter which one) and choose Convert To AVI File(s).
3. Choose between 24-bit and 32-bit, decide whether to use 486 or 480 lines of resolution and click "Start Conversion."
4. The next window that pops up will be a browser window asking where you'd like your .AVI file to show up. I placed mine on the desktop.
5. Hit OK. A file is immediately created.
That's it! That .AVI file can now be imported into programs that like AVI files, such as Adobe Encore, After Effects, Alias Maya, etc.
Now, let's take a file that you need rendered to the dps format. An example of this is the Juicer, a program that converts Digital Juice Jumpbacks (a popular set of graphic backgrounds) into files usable by you. This also works for Editor's toolkit footage made by the same folks.
1. Open the juicer program (available for free on Digital Juice's website, it's also on their accompanying DVDs).
2. Drag the desired footage item into your "batch window" inside the juicer.
3. Set the desired settings (I always choose 720 x 486 NTSC and 29.97 FPS) and click on the output tab.
4. Drop down the "save as" option down to "AVI" and click on "settings." For the compressor, choose "DPS AVI Codec" and click Configure.
5. Set your video / alpha quality and the destination for your resulting dps file. Click OK twice and you're back at the Juicer. The "Save Location" is the place where your .AVI file will end up.
Two files result. An AVI file to be used in any application, and a dps file to be used within velocity.
This is a very handy feature Leitch provides for its users for free. Here's how to install:
1. Go to www.leitch.com
2. Choose Products > Non-linear editing
3. Choose VelocityQ
4. Click download
5. This is the step that usually trips users up. You need two different downloads for this to work and they're both located under the "Cool Tools" section:
- DPS Software Player
- DPS AVI Codec
6. Download both of these and install (in that order).
While you're on their homepage, check out the other tools available for download.
(John David Hutton)
* Build Your Own VelocityQ. See how *
Please visit the forums or read other articles at Creativecow.net if you found this page from a direct link.
|Related Articles / Tutorials:|
Batch Export Script
In this article, John David Hutton explains the batch export script he has written and how to use it to automate the exporting of multiple timelines with the same format in Velocity.
John David Hutton
Capturing Windows Media Directly using Leitch Velocity plug-ins
Among many of Velocity's strengths is its plug-ins. Using one of these plug-ins in the ''Qtools'' bundle (free), you can actually capture to windows media or real media directly, without capturing to hard drives first and then crunching. In this tutorial, John David Hutton demonstrates a windows media capture but the steps should be very similar for real media.
John David Hutton
|Recent Articles / Tutorials:|
Art of the Edit
Unearthing Apollo 11 in Large Format: An Interview with Director Todd Douglas Miller
Director-Editor Todd Douglas Miller creates more than just another space documentary with his film Apollo 11. He has helped expand the horizons of what we thought we knew about one of humankind's signature achievements by unearthing nearly 300 reels of previously unseen large-format film, up to 65 and 70mm, digitized with a first-of-its-kind 8K scanner, along with 11,000 hours of previously unheard audio recordings to provide previously only-imagined perspectives on our first mission to the moon. Creative COW's Courtney Lewis reveals how he put it all together with NASA, the National Archives, post house Final Frame, and tools from Adobe.
Apple Motion 5: EPIC Title Tutorial by Simon Ubsdell
Join longtime VFX artist, editor, software developer, and business owner Simon Ubsdell for some really useful and interesting techniques for creating a fake 3D title treatment with dramatic depth, texture, reflections, staining and other details that goes way beyond what you can achieve with the 3D Title Tool. Not only that, these techniques work well with any graphic object, for maximum motion graphics flexibility.
TV & Movie Appreciation
Designing Tarantino's Once Upon A Time in Hollywood
Barbara Ling, production designer for Once Upon a Time in Hollywood, discusses how she was able to turn back time and recreate 1960’s Hollywood. Barbara and Go Creative Show host Ben Consoli discuss how Quentin Tarantino kept the film’s script a secret, how she restored Hollywood to the 1960’s, not using green screen, sourcing vintage props from eBay, filming the real Playboy Mansion, the challenges of filming on Hollywood Boulevard, and much more.
Blackmagic Design Announced WHAT?
As if this wasn't already the hottest summer on record, Blackmagic Design's Grant Petty rolled out some blazing news across a wide range of the company's product lines in cameras, production hardware, and software.
Apple Motion 5: Light Art Tutorial
Discover how to create this moody light art scene with Apple Motion 5! Join longtime VFX artist, editor, software developer, and business owner Simon Ubsdell for a tutorial that also includes number of useful tricks, including how to create an ambient occlusion effect and textured specular highlights.
The Lion King's Virtual Cinematography: Caleb Deschanel, ASC
Caleb Deschanel, cinematographer for Disney’s live-action The Lion King, shares how they used traditional cinematography to create the life-like virtual film. Caleb and Go Creative Show host, Ben Consoli, discuss modeling cameras and lenses for virtual filmmaking, how Caleb was able to move the sun around in virtual space to get the perfect lighting, using a real drone for the Circle of Life sequence, and more!
Adobe After Effects
Adobe After Effects Reverse Stabilization
You're going to be blown away by how you can power up your After Effects workflow with reverse stabilizing your footage! By separating your tracking from your compositing, you can focus on each step, and in addition, overcome the render order complexities when match moving elements and effects on a moving shot.