-
DVCPROHD MXF Files in the Vegas Timeline with Raylight
Raylight now has a plug-in for Sony Vegas that allows you to
put HVX200 MXF files directly into the timeline.Previously you had to convert the MXF files to Raylight AVI but now
you can just drop them in. There is more explanation here -
6 Replies
-
I tried and TRIED to get that new XMF plug-in to actually exist in Vegas 7c Plug-In Manager but to NO avail ! What am I doing wrong ? In the Vegas 7c PLUG-IN Manager, what does the plugin look like ?
I can tell you that that excellent link allowed me to at least now see video via Raylight-conversion-of-XMF-to AVI in the Vegas 7c timeline.
Thanks,
Patrick
-
It was developed for Vegas 6, has not been tested with 7 yet, maybe later this week
Also I believe since the plugin is a file format plug-in it’s not registered
with the plugin manager, so it will not show up there. The only place you will see it is
in the system registry under HKLM/Sony Media Software/File Formats 2 -
The latest version now online installs and runs well with Vegas 7.
There was a problem with interference between the Raylight MXF file
reader and the Sony MXF file reader, so the new installer locates
and then disables the Sony MXF reader. -
Just tried it, and it is really rather amazing what Marcus has accomplished here. Run Vegas, plug in a card, and drag the files straight to the timeline. Edit straight off the card, no copying, no offloading, no file conversions, no unwrap/rewrap… it works almost as well as EDIUS does, yet it does it within Vegas which is such a wonderful editing program. Fantastic job, Marcus!
—————–
Get the most from your DVX camera. The DVX Book and DVX DVD are now available on ebay and at Amazon (https://www.fiftv.com/db) -
[Barry Green] “Edit straight off the card, no copying, no offloading, no file conversions”
OK…that is all well and good, but who would edit right off the card? That is needed for production. You need to offload the footage to something so that you can edit.
Shane
FCP Preferences set to UNCONTROLLED ADVICE
Littlefrog Post
http://www.lfhd.net -
[Shane Ross] “OK…that is all well and good, but who would edit right off the card? That is needed for production. You need to offload the footage to something so that you can edit.”
Well, no you don’t — that’s the “old way” of working, the concept that you need to transfer the cards over to a hard disk. We only put up with that right now because the card sizes are small. As soon as the card sizes get large enough, the whole process of “offloading cards” and “transferring footage” and “unwrapping/rewrapping” can all just go away.
Let’s look at the extreme: let’s say you had two 128GB cards. Each card is capable of holding 5 hours of 720/24pN. So in-camera you could have 10 hours of footage — that’s enough to hold all the footage for an entire 90-minute feature film, shot at about a 6.5:1 shooting ratio! In-camera, all at once. Why would you want to edit off a hard disk, when the cards can deliver six streams of high-def in realtime?
Not even a five-disk G-RAID can handle that; they only support up to 3 streams “guaranteed”. Because they’re solid-state with no moving parts and no head seeking or anything, the P2 cards can handle six streams of 1080, and probably 15 streams of 720/24pN, right off the card.
Transferring/offloading is only necessary now because of the small card sizes; as card sizes grow (and as NLE manufacturers start to embrace the power this gives us, rather than trying to patch us into their existing tape-centric workflow) you’re going to see a huge shift in the way projects are done. We’ll shoot to the cards, edit off the cards, even master back to the cards, finish an entire project without ever offloading or transferring or using a P2 Store or a laptop or anything! Then, archive overnight.
You’ll have every clip of your footage available to you, throughout the entire production process, instantly. Need to check a prior take for continuity? Just play it. Need to match up framing with a prior shot? Play the prior shot, take a still-frame on your 1700 monitor, and then match up the frame size, eyelines, and lighting. It’s all there, instantly accessible, on the cards.
In fact, I suspect that feature shooters would be able to have an editor take over at the end of the production day, who can cut all the day’s work together during the night shift, so when the crew comes back the next morning they can view finished scenes. Not “dailies”, not raw footage extracts, but actual finished scenes. As soon as the day wraps they hand the editor the cards, and the editor starts cutting immediately. No capturing, no logging, no digitizing, no marking in/out points, no defragging, no anything. Just plug in the cards and edit. In the morning, hand the cards back and the production goes on their merry way. Of course you could be nice and archive them for the production crew too, but I would leave the raw footage on the cards as long as possible.
A new dawn is coming, as soon as the cards get bigger, and as soon as NLE manufacturers get around to providing this MXF functionality. EDIUS does it brilliantly; Avid is mediocre at it, and Raylight brings it to mostly to Vegas. Axio does it for Premiere Pro. Really FCP is the only one left out in the cold right now, and sooner or later I’m sure they’ll get up to speed. Once FCP goes live with MXF files on the timeline, you’re going to be able to do things quicker, faster, and better than ever before. It’s gonna change everything.
—————–
Get the most from your DVX camera. The DVX Book and DVX DVD are now available on ebay and at Amazon (https://www.fiftv.com/db)
Reply to this Discussion! Login or Sign Up