LIBRARY: Tutorials Reviews Interviews Editorials Features Business Authors RSS Feed

Virtual AVI in Leitch dpsVelocity

Virtual AVI in Leitch dpsVelocity
Creativecow.net Leitch dpsVelocity Tutorial


Virtual AVI in Leitch dpsVelocity

John David Hutton
John David Hutton
mYth productions
Kansas City, Kansas, USA

©2004 John David Hutton and Creativecow.net. All rights are reserved.

Article Focus:
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.


Converting dps to .AVI


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.


Rendering to dps


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.


6. Render.

Two files result. An AVI file to be used in any application, and a dps file to be used within velocity.



Download and Install

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.

Have fun!

- mYthprod
(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:
Leitch dpsVelocity
Batch Export Script

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.

Tutorial
John David Hutton
Leitch dpsVelocity
VelocityHD and VelocityQ Training 101

VelocityHD and VelocityQ Training 101

Creative Cow leader Lyn Norstad takes a look at Mike Harper's unique DVD video training program for the Velocity HD and Velocity Q packages from Leitch (now a division Harris.)

Review
Lyn Norstad
Leitch dpsVelocity
Capturing Windows Media Directly using Leitch Velocity plug-ins

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.

Tutorial
John David Hutton
Recent Articles / Tutorials:
Art of the Edit
Film Editing: Should You Edit Scenes to Music?

Film Editing: Should You Edit Scenes to Music?

Music can elevate the emotion of a film scene. As a film editor, should you first cut to music or focus on dialog and visuals alone? In this tutorial, This Guy Edits shares his point of view by example with a rough cut using some temp music by Max Elto.

Tutorial
Sven Pape
Adobe After Effects
Adobe After Effects Advanced Title Tutorial

Adobe After Effects Advanced Title Tutorial

Learn how to create complex title animations in Adobe After Effects! In my last tutorial I covered how to create, customise and animate simple titles in Adobe Premiere Pro: https://www.youtube.com/watch?v=6xQtq... In this tutorial we will take things one step further and create titles that are too complex to create with Premiere alone. We will be working with and customising presets, creating character by character animations and we will look at the power of custom Text Animators. Want to learn more about how to animate text? Check out the Adobe help page: https://helpx.adobe.com/after-effects...

Tutorial
Tobias Gleissenberger
Oliver Peters interviews editor Tom Cross of La La Land

Oliver Peters interviews editor Tom Cross of La La Land

The ambitious opening sequence of La La Land was done with just three cuts, according to the film's editor, Tom Cross. Oliver Peters brings you the story of this and many other aspects of editing this remarkable film.

Editorial, Feature, People / Interview
Creative COW
Videoguys Top 10 Products of 2016

Videoguys Top 10 Products of 2016

As we look back at 2016, we reflect on a year that involved media consumption -- and more specifically LIVE media consumption. Increased bandwidth, improved cameras on mobile phones, and easy access to YouTube LIVE...

Editorial, Feature
Creative COW
Immersive Gaming: Razer's Project Ariana Fills the Room

Immersive Gaming: Razer's Project Ariana Fills the Room

Razer's Project Ariana earned the company its seventh straight Best of Show award at CES 2017 and broke the record for consecutive wins. Fully immersive gaming is sure to be huge in the days ahead.


Creative COW
Production Designer Hannah Beachler on the Go Creative Show

Production Designer Hannah Beachler on the Go Creative Show

Film and broadcast production designer Hannah Beachler talks with Go Creative Show host Ben Consoli about her work on Creed, Moonlight, and the upcoming Black Panther. Hannah Beachler is a prolific production designer with an affinity for realistic design that emphasizes emotional drama. Over the past few years, Hannah’s designed some of the hottest films like, Miles Ahead, Creed, Moonlight, Beyonce’s Lemonade, and the much anticipated upcoming film Black Panther. Hannah and I discuss the role of a production designer, how she collaborates with the camera department, working with director Ryan Coogler and how she finds inspiration for each of her films.

Feature, People / Interview
Ben Consoli
The Other Side of GoPro's November 30, 2016 Announcement

The Other Side of GoPro's November 30, 2016 Announcement

When GoPro announced on November 30, 2016 that they would be cutting 200 full-time jobs, closing the entertainment division, and that their president would be leaving the company, the internet came alive with those who were predicting the company's demise. But there really is another side to the story and as is often the case, the loudest voices are not always the ones with the real story. In this article, Creative COW's co-founder, Ronald Lindeboom, looks at GoPro's announcement and gives his thoughts from his point of view. As Lindeboom concludes at the end of the story, "That GoPro stumbled is not surprising to me, what is surprising is that they had such a remarkable unbroken string of success until 2016."

Editorial, Feature, Business
Ronald Lindeboom
MORE
© 2017 CreativeCOW.net All Rights Reserved
[TOP]