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:|
“Before I forget: don’t wear any underwear.”
Before coming to Creative COW, before his lives in product marketing and product management at Avid and Boris FX, Creative COW Editor-in-Chief Tim Wilson ran a video production company. As we also observe the 100th Anniversary of the founding of the US Parks Service, Tim recalls one one especially memorable adventure to Everglades National Park, wherein he found himself quite literally up to his armpits in alligators. He had no idea that this was going to happen when the day began. At the time, he was focused on a brand new fear: getting sliced in half by burning underwear.
Editorial, Feature, People / Interview
Art of the Edit
The Science of Editing
Sven Pape, aka @ThisGuyEdits, joins Dr. Karen Pearlman -- former President of the Australian Screen Editors Guild and a three-time nominee for Best Editing at the Australian Screen Editors Guild Annual Awards -- for a provocative look at "Editor's Thinking," a cognitive skill set that you can use to improve your screenplay before you start principal photography of your film.
Shooting MTV's Mary + Jane with Panasonic VariCam 35
To shoot the ½ hour scripted comedy series for MTV, Mary + Jane, the producers at Television 360 enlisted cinematographer Charles Papert (Crazy Ex-Girlfriend, Key and Peele), who found that Panasonic VariCam is a great fit for moving fast and getting great images when time and resources are scarce.
Adobe After Effects
Imagineer mocha Pro 5 Plug-In for Adobe: An In Depth Review
Imagineer mocha Pro 5 Plug-in for Adobe brings all the amazing features of the professional version of the mocha Planar Tracker directly into After Effects and Premiere Pro in the form of a plugin. In this in-depth review, After Effects tutorial guru Tobias Gleissenberger of Surfaced Studio will show you what you can do with this new plug-in, and discuss what he likes and doesn't like about the new update.
Apple Final Cut Pro X
Hawaiki Keyer 3.0 Upgrader Tutorial
After 25 years as an editor, compositor, and VFX artist, frequent Creative COW poster and tutorial author Simon Ubsdell knows what he needs from a keyer -- and knew he wasn't getting good enough results from FCPX or Motion. Discussions in COW forums led him to create the highly regarded Hawaiki Keyer for Mac users using Apple Final Cut Pro X, Apple Motion, and Adobe After Effects and Premiere Pro on Mac as well. Enthusiasm expressed by COW members for its latest release led us to ask Simon for a tour of the even more advanced Hawaiki Keyer 3.0.
All Eyes on IBC 2016 for Cameras and Lenses Galore
What’s that you say? An IBC that’s not only relevant, but downright exhilarating?
This used to not be news, of course. However, in recent years, IBC has too often become simply an opportunity for European audiences to see products already announced at NAB. In 2016, however, the focus swings sharply to Amsterdam, especially when it comes to cameras and lenses. IBC 2016 is shaping up to be one of the most dramatic trade shows for cinematographers, broadcasters, and videographers in years. Join Creative COW Editor-in-Chief Tim Wilson for a speedy overview of some of the highlights.
Art of the Edit
Film Editing Tutorial: How To Crush The First Notes
It's happened to you. The first cut sounds noisy, has compression artifacts, actors aren't giving their best performances -- and the director has notes about all this and more. Follow along as Sven Pape from "This Guy Edits" works through some of these very issues on the film he's working on, with tips on how deliver exactly what YOUR director is looking for.