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:|
Perfecting Audio: Professional Audio Add-ons For Your iPad
You're going to be amazed how easy it is to turn your iPad into a professional audio powerhouse for a variety of applications: a field recorder, a front end for controlling your DAW, MIDI keyboards and turntables for musicians and DJs, and more. Whether you're a filmmaker, a podcaster, an audio engineer, or a musician, there are surprisingly affordable and powerful options for pro audio with your iPad.
Adobe Creative Cloud
Increase Productivity with Adobe Motion Graphics Templates
Motion Graphic Templates created in either Adobe Premiere Pro or Adobe After Effects are a great way to work with clients. They help you keep a consistent look and feel while protecting your project from inadvertent changes as it passes through different hands. Here are the steps you can take to share work across teams and organizations, quickly and powerfully.
Apple Motion 5: Animating Raindrops On A Window
Ready to have your mind blown? Longtime VFX artist, editor, software developer, and business owner Simon Ubsdell is inspired by an Andrew Kramer AE tutorial to combine Apple Motion's particles, displacements, 3D compositing, and advanced blurs to create an incredibly realistic animation of raindrops on a window. You're not going to believe how fast and fun this effect is to create, and how realistic it looks.
Pansonic AG-CX350 First Look: 4K, HDR, Streaming, and more
Introducing the new Panasonic AG-CX350 4K HDR 10-bit 60p camcorder, featuring Enhanced Network Capabilities for live events,, sports, and news gathering. The CX350 is equipped with the RTMP/RTSP/RTP protocol for live streaming and NewTek NDI | HX-ready for IP Production. In addition, it offers future P2 capability (via a free firmware update). At only 4.2-lbs. (body only), the CX350 is also the lightest 4K 10-bit fixed-lens camcorder in its class -- all for under $4K! Check out the details here.
Adobe After Effects
What Are Adobe Motion Graphics Templates?
A Motion Graphics Template, referred to as a MOGRT, is an animated sequence that is self-contained and can be used in Adobe Premiere Pro, Adobe Premiere Rush and Adobe After Effects, combining graphics, text, audio and video files, as well as vector or still images (including logos), to create a still or animation that can then be customized by the MOGRT user. The result is a dynamic creative tool that provides design freedom and is consistent to its users across apps and devices. Reuse, share, and even sell them!
Workflow That Plays For Keeps: How Netflix Is Protecting Stories' Futures
If you hope to distribute your work via Netflix, you NEED to know this, but even if you're only interested in the best thinking currently available about how to preserve your own work for an unknown digital future, this is a must-read. Kylee Peña, Coordinator of Creative Technologies & Infrastructure at Netflix, and co-authors Christopher Clark and Mike Whipple share insights on the origin of Netflix archival elements, the importance of color management, and how all this comes together to preserve creative intent -- insights you can start using yourself, today.