It is used by Vegas when you export video from the Vegas timeline, but ONLY if the video has been modified in some way, like transitions, filters or added titles. The Sony DV codec is NOT involved when capturing with Vegas. There is no codec involved when capturing from the camcorder, in essence it is a straight file copy operation from the DV tape to the hard drive. When you capture DV video via Firewire, the video has already been compressed to DV using the hardware DV codec in the camcorder. My favorites are Dust(pixie),Deen,Conv3D,STmedian,UnDot,Cnr2,Vague,MipSmooth,DeSpot,DeGrainMedian. I know there are some very good AVIsynth filters, but the most important thing is that you must know how and when to use them. Now play the DV-AVI with Media Player Classic and you'll see that the default decompressor used is Canopus DeCompressor. Make the script and import it in ProCoder,render to Canopus (reference) DV-AVI Say you've got AVI and you want to do some filtering This is just one example of how is done with Canopus DV codec: We need Sony decompressor so we can do whatever we want,providing that we are NOT changing AVI comp/decompressors, thus NOT changing/altering colorspaces,decoding issues. Then just import the script in your favorite encoder/in my case for DV-AVI Canopus ProCoder and you're done. Temporal/SoftFiltering(your favorite filter goes here) SpatialFiltering(your favorite filter goes here) IMHO I'd rather use hyffyuv to decompress Sony DV than Main Concept DV codec.Ĭnr2()default settings work just fine/no need for adjustments I now have just hyffyuv instaled on my system.Obviously AVIsource() returns "could not find decompressor for fourcc dvsd" which once again proves that the Sony DV codec incl. Here is the problem: if Sony DV codec included in Vegas has decompressor I'm fine, but that is NOT the case.Because Vegas/Sony DV codec is just compressor, I have to use DirectShowSource()/in my case hyffyuv is decompressing the DV-AVI providing I use DirectShowSource(). Now I have pure Sony DV-AVI in YUY2(most of the AVIsynth filters work in YUY2 or YV12).
VHS capture digitize with DV Cam, capture with Vegas(so I can take advantage of the Sony DV codec),do edit, transitions,whatever in Vegas,render to PAL DV-AVI(Sony DV codec).
Yeah, I like your workflow but I preffer to do it in this way: If you want more details, let me know and I'll email them to you, or simply post them here. In other words, it is pretty darn fast, considering that I am doing chroma cleaning, temporal smoothing, etc. What's even more amazing, even with some fairly high quality settings in the MC MPEG-2 encoder (which slow things down), the AVISynth plug-ins are so fast (especially compared with their VD counterparts) and there is so little overhead in the two frameservers, that this whole chain encodes at close to 1.5x real time. Vegas -> Satish Framerver -> AVISynth script -> VirtualDub -> VD frameserver -> MainConcept MPEG-2 standalone encoder. The only reason to us VD is to provide a way to then frameserve the output of the AVISynth script into the MainConcept MPEG-2 encoder. This AVISynth gets its input from the Vegas frameserver. I then used VirtualDub to open an AVISynth script that does chroma cleaning (an absolutely necessity for VHS) as well as light temporal cleaning (there are some amazing, new plug-ins for AVISynth). I did some cuts and color corrections, title overlays, etc.
Last night, for instance, I brought some VHS captures into Vegas. In the past few months, I have almost completely eliminated using the MC DV codec. Using the Wax plug-in, you can serve into Vegas, and another Satish gem, the frameserver plug-in, you can serve out from Vegas. However, in addition, if you can tell us what your workflow is, perhaps I can suggest a way to avoid the encoding altogether. John_Cline has already made the suggestion I would have made, namely to make sure you are not using the MC DV default ("fast"), which WILL produce inferior results. I do a lot of work with AVISynth as well as VD, and do a lot of frameserving (which, BTW, is often a way around having to use the MC DV codec) and often I forget which colorspace I am working in, and forget that you can get into issues where one program assumes 0-255 and the other is supplying video truncated to 16-235.īack to your problem. I have occasionally been disappointed with the MC DV results, but in retrospect it may have been a 16-235 issue. I used to swear it was the best I'd ever seen, until I encountered the Sony/SoFo codec, which of course is close to perfection.
0 kommentar(er)
