Frage von gregory:
Hello!
I have a problem with regard to final cut gecapturtem dv material:
for the purpose of the post-processing I would be happy with postprocess dv recorded super8 film material in virtualdub plugin with the anti-flicker (flicker to remove that). saves me the final cut with no file extension is gecapturte material properties (in quicktime). unfortunately I can not open this in virtualdub, I thought that with the panasonic dv codec should be possible for vfw, as it hereby loudly description dv-can open files in virtual dub. The error message says: format not supported.
I suspect it is s.quicktime dv codec and virtualdub can not cope.
Perhaps someone has experiences regarding this topic, I'd appreciate advice very much!
Thank you,
g.
Antwort von rob:
hi gregory,
I would try the following:
1.
s.das final-cut-pro file simply endung. dv or hanging. mov, virtual dub might recognize the file correctly then.
2. should: 1 do not work, go to the final-cut-file in quicktime drag & drop and export it as avi. This should then be opened. However, you lost so that a generation - the quality is therefore not necessarily better.
much luck
rob
Antwort von wrunge:
Hi rob,
Thanks for the tip.
1. dranhängen if I use an extension, virtualdub is still not in the location, the file open. it does not change s.der error.
2. I wanted to avoid generation losses, of course, possible, but would be an idea. could be easily re-import the resulting avi in final cut or do I have to (re-convert back into quicktime)?
another question: cut projektionsflackern remove a filter to the final would be synonymous for a solution. I know the magic bullet that can stop is a little expensive for non-professionals. someone knows a freeware plugin that is is capable to do?
Thank you,
g.
Antwort von rob:
Hello,
So final cut (like quicktime) can read avis that are created with a DV codec was.
there are many plugins that generate extra a super-8 flicker if you would like one super8-have look (which I incidentally, very chic) think, but the reverse path is much more difficult.
there is a bit on how long is your material.
whom we are dealing with a 30-second ad, I would seriously consider reflective of the frames are for the flare hausptsächlich promises or, delete, and if necessary, use a different frame here, or omit entirely the deleted frames.
Otherwise, obviously, but now of anything, as long as I have not seen the material. Ask a preview store somewhere?
lieben gruss
rob
Antwort von wrunge:
Hi rob,
it is relatively much material (1-1.5 h) in dozens of small clips for inclusion in a longer documented. Unfortunately, when filming was made not of much value on correct speed setting s.projector etc., so that flicker is already some of them quite disturbing.
Thanks for the preview offer, unfortunately I have currently no possibility to upload.
I'm at a known time-variant test the magic bullet that can be so time to report whether it worked.
Thanks again for the trouble
g.
Antwort von gregory:
after an unsuccessful experiment with magic bullet (which can generate the flickereffekt only artificial, not reduce) I tried it again with virtualdub.
which has then synonymous with the following trick works:
1. finalcut rename the files. mov files (eg when several with "af5 rename your files")
2. install avisynth 2.5x
3. textfile editor with, the following entry to create (with summaryplot to open the file):
directshow source ( "g: \ super8 \ xxx.mov")
4. avisynth script to save as textfile with the extension. avs (eg test.avs)
5. Open virtualdub
6. . open avs file in virtualdub
that serves the purpose to quicktime (not dv file to open directly in virtualdub to pass on what is acknowledged to remain with the error), but they s.virtualdub via avisynth and direct show. Otherwise, of course, can still be added to avisynth script editing functions -> see.
an even ask, can through the opening by the suffering of directshowsurce quality video materials?
I hope that perhaps some one time benefit,
g.
Antwort von Stefan:
an even ask, can through the opening by the suffering of directshowsurce quality video materials? Yes and no ;-) It depends on what you define in Leiden.
The facts are ...
if done in some Machining VD in Full Processing Mode, it shall be done in the RGB color space. The DV source material and the target material is material from the YUV color space.
Both color spaces include s.Farben a different amount, so that it can be produced with "exotic" colors, for example, by downstream filter to get through the double conversion losses.
Moreover for "normal" colors and precise resersible transformation rules are used. The calculation accuracy and the computing speed of computers is a limited resource, ie it depends on the ability and will of the writer's program, how exactly does a program that. I have great confidence in Avery Lee ;-)
The transformation of color space is in principle synonymous for Avisynth. Where some may remain in Avisynth filter in the YUV color space and accounts for the changes to / of RGB.
Furthermore, it depends on the DV decoder used as a DV compressed frame is decompressed into an uncompressed, editable Picture. In Avisynth can change this behavior or correct.
Scharfi has very interesting observations about this in his blog http://md2.boerde.de/scharfi/?p=2
Good luck
The fat Stefan
Antwort von wrunge:
hello stefan,
I was primarily concerned the processing of super8 materials, that is 100% accurate color rendition is not as important to me as a real true color is no longer available.
I use the cedocida dv codec, which offers options for color space conversion.
My question was aimed at more block artifacts s.durch possibly trans-coding open it up.
in other words: I can quicktime dv gecapturte material via avisynth pass without the visual content needs to be re-encoded? I have the full processing mode losses, seems to me logical, but the video should look in the "display input video" does not cut as well as in final (except for the colors maybe, as you described)?
which I do not seem to be so, or is it just a display problem (of windows to mac, others monitor, resolution, etc.), I get the impression that larger block artifacts appear in the image.
the antiflickerfilter works only with yuy2, so I umkonvertieren before.
looks like from my current script, maybe you have a suggestion:
loadplugin ( "C: \ Program Files \ video \ avisynth 2.5 \ plugins \ antiflicker.dll")
directshow source ( "g: \ super8 \ unbenannt497.mov", fps = 25)
ConvertToYUY2 ()
anti-flicker ()
spatialsoften (2,3,3)
TemporalSoften (4,10,10,30,2)
ConvertToRGB ()
regards,
g.
Antwort von Stefan:
No panic! The extent that we clearly see differences in color, should the worst one YUV to RGB conversion is not coming ;-)
Otherwise, it helps to distinguish exactly who does what. And 1-2 typical example of still images (before / after) for debugging are not synonymous wrong (possibly sit at www.imageshack.us).
Avisynth is with you s.ein intermediary between the DirectShow filters (MOV DV capture and decode) and VirtualDub (DV compress and save AVI) and b) responsible for anti-flicker.
Avisynth processed in this sense only uncompressed material, which blocks you had before you brought in (DirectShow) or after (DV codec produced in VD).
To see the difference, is problematic. You could take such a test series in VD with another good save and see Codec (Huffyuv, MJPEG) and whether units are in there and look without saving in VD.
Then, when synonymous blocks are present, which likely originate from the DV decoding by DirectShow. But that again is unlikely. The DV standard is to have standardized the extent that all work exactly the same DV
De coder to hear that the unpacking.
If the blocks are gone, have been previously reingeschleppt likely for DV encoding with the DV codec in VD. In this case, you can try here a different DV codec (Panasonic to use Matrox, MainConcept) if you want to stay with DV. The tool is very helpful in doing VCSwap to exchange (swapping) of the video codecs to be used.
Replacing the DirectShow DV codec is - in principle synonymous -. Just because you have not such a great choice. That reminds me just the MainConcept DV codec as an alternative to Micro $ oft a DV codec. GSpot is a useful tool for viewing the system used by the DirectShow video codecs. This can show as a DV AVI file would be played ...
One thing can fool you, however, and this is pure speculation, because I seltenst with DV MOV files "had intercourse ':
If DirectShow s.Quicktime reading the MOV files, and unpacking and it's perverse DV codec provenance. Then you need the Quicktime DV codec. I do not know whether we can replace the. No Panic! In this case, would you when you view the source files into MOV QT'll see blocks.
For the rest of the script ...
You make the whole anti-flicker history in Avisynth. Actually you only brauchts VD to compress and save.
The only reason you do not need the full processing mode, but can go one of two modes to choose (Almost Recompress?), If your DV codec of there. Accordingly you need the ConvertToRGB () does not s.end the script.
Or do you give - depending on further processing - all on VD and make a frame of Avisynth directly serving in the next application VD behind the MPEG encoder for DVD production.
The parameters in the noise reduction capabilities, I have not seen (too much effort and dependent) on the source material.
Good luck
The fat Stefan
Antwort von Chris2:
Hi,
small question ... what is a DV codec real difference between the "Fast Recompress" and the "normal" compression?
Antwort von Stefan:
With DV codec, I do not know the concept. In VirtualDub (VD), it has to do with the color space.
One can - broadly speaking - the various points in a picture of three primary colors plus an alpha channel if zusammenmixen (RGB color spaces), or a brightness, and two color (YUV color spaces).
These two types of space in each case can again be divided.
A subdivision of RGB's example on the number of bits per primary color (8.16 ,...).
Another subdivision is in YUV eg via the Farbsampling (pixel color information sharing with neighbors, 4:4:4, 4:2:2, 4:2:0 ,...) and / or storing the data in memory (alternating planar YUV or until all the Y (brightness), then all U or V (color difference)).
Long story short:
There are a lot of spaces which are suitable as input / output for a codec in question.
With a DV codec is the goal in a DV PAL uncompressed YUV 4:2:0.
In the "simplest" case, the codec synonymous expect such a command, because then no further conversions are necessary.
With "more comfortable" codecs, eats the encoder part synonymous images from other color spaces, which are then converted. And the decoder part can provide other images synonymous s.aufrufende Programs.
The Programs and some codecs normally with each other, so that you as a user does not see much of them. Except when things does not work and is an error. RGB YUV decoder program can not be with ... "
But there's Programs (eg VirtualDub) and codecs (eg Huffyuv), where you can set as a user, which settlements are to be preferred. Sometimes, hiding under one point as "Force RGB output ..."
In such a case is synonymous with the Fast Recompress VD. If we know that material in uncompressed YUV YUV material should be, then you can try to address specifically the routines of the input YUV codec.
Good luck
The fat Stefan
Antwort von Joerg62:
hello stefan,
erstmal danke für die infos comprehensive vcswap is very helpful to test the exported files.
I have to compare times 2 images uploaded to imageshack, the first is directly exported from Final Cut Pro, the second is the same picture as the statuesque vd Conversions-directshow source file (without any filters, etc.). is synonymous noted that despite the same settings (jpeg with highest quality) is much smaller image vd.
However, there appear in the Final Cut Pro picture most synonymous only one field as is shown in the picture one frame at vd? maybe a problem in decoding by deinterlacing?
I think you can already detect a quality loss, except of the color. which then makes it slept, which really open the with the dv codec, the quality diminished.
is dv sowit standardized, and that a same file with different codecs opened a similar image quality supplies (no blocks), I thought synonymous.
considers the original image in quicktime but now looks vd ergebniss synonymous with the very similar (fig. export was not).
[URL = http://img525.imageshack.us/my.php?image=kaffetrinkenfcp5ap.jpg]
zum Bild [/ URL]
[URL = http://img221.imageshack.us/my.php?image=kaffetrinkenvdperds5nl.jpg]
zum Bild [/ URL]
I can import the dv codec for the influence vd somehow? I am confused because I do not know what codec it uses now. directshow source = m $ codec, or at least in quicktime mov?
regards,
g.
Antwort von gregory:
ps
now I'm totally confused:
quicktime in the described image artifacts disappear only when the player "is selected if available higher quality use.
I guess Quicktime are passed s.directshow in poor quality.
is a kind of "copyright", which will prevent the further process in good quality?
Antwort von Stefan:
At the sample images you can see that what is wrong with the color depth. Especially good to see behind the woman with jug: posterization (instead of gray gradient) s.der gray wall. Better JPEG compression is therefore explicable.
What is the x Programs / converted from Final Cut Pro and VD responsible??
I can not, understand because I've been having trouble reinzubekommen, DV MOVs in Avisynth. Normal MOVs go, but with the DV-PAL compression not. You've surely) DV-PAL compression in your videos (QT> Film> Movie Properties-> Video Track-> format?
My suggestion: go one step again (ok, several) back and let the entire QT / Avisynth section away.
... use final cut to make s.DV-AVI file. Select EXPORT WITH QUICKTIME COMPRESSION. Where you can select format, (it will most likely say QuickTime) open the menu, and select AVI. In the advanced properties, you can now select DV-AVI. - Windows will understand this. Thus you had a DV AVI file created by Final Cut Pro. The editing directly in VD.
Good luck
The fat Stefan
