[Marcus Van bavel]

You might look at DVFilm Atlantis for Mac, it does that same method conversion (60i to 24P, speeding up to 25P) in about 2 minutes per minute on a MacBook core 2 duo. Although that is not real time, it has a batch conversion feature that will process up to 100 clips at once, and you can run it in the background while you use your computer for other things. See https://dvfilm.com/atlantis

[Marcus Van bavel]

There is a sample P2 card image on the Raylight webpage, look down near the bottom of https://dvfilm.com/raylight

Yes, the Euro version of the HVX200 shoots 1080/25P, 720/25P, and PAL DV and DVCPRO50. Raylight will work with all of those.

It will look more like film if you downconvert the edited 720/25P to 25P PAL using the film grain, red boost and deflicker features in DVFilm Maker (included with Raylight). The demo for that is at https://dvfilm.com/maker

[Marcus Van bavel]

Use DVFilm Raylight https://dvfilm.com/raylight and you can bring the MXF files directly into Premiere Pro 2.0 or CS3.

Except for the trademark DVCPROHD is not exclusive to Panasonic, it’s a SMPTE standard (370M). The MXF file format is defined in SMPTE 377M.

[Marcus Van bavel]

[Tom Bridges] “When you say broadcast quality, what are you comparing it to? Does it look as good as an Alchemist? Compressor also uses motion analysis, of course, but we find it can often produce artefacts. That’s why we’ll send broadcast standards conversions out-of-house. Are you saying that we wouldn’t need to do that with your product?”

Yes, I’m comparing it to Alchemist. There is a free trial version of Atlantis on the DVFilm website so you can make a comparision yourself.

Atlantis uses a unique method where it first converts interlaced PAL to 25P, using motion-sensitive (or “smart”) deinterlacing, then applies a 3:2-like pulldown to print 25 frames over 59.94 fields per second NTSC.

For NTSC to PAL it first either removes pulldown (for film-originated or 24P-shot material) or deinterlaces 60i to 24P, then speeds up 4% to 25P.

The motion detector is a motion-scalar type (senses the presense of motion but not the direction or amount travelled) vs motion vector, and so is less easily fooled by erratic or unpredictable moves or repetitive patterns. The main drawback of the Atlantis method is it relies on normal shutter speeds (1/60th to 1/50th sec) so does not work well with high-shutter speed material.

[Marcus Van bavel]

[gary adcock] “Only in SD for mac users, and only 1080 for HD users on windows so not really that useful for many of us.”

I don’t get this statement. If you have a 50iHD project, for example, the first step is to make a 50i SD PAL export which you will need anyway for PAL broadcast. FCP does a pretty good job of that. Then use Atlantis to make the NTSC version. Is that not useful? Maybe you would like to do it differently. But it is still useful– right?

The Windows version does hd 50i/60i and SD PAL/NTSC both. Why is that not useful?

[Marcus Van bavel]

And you might also look at DVFilm Atlantis https://dvfilm.com/atlantis which is slower, but uses motion analysis and is broadcast quality regardless of what computer you’re running it on.

[Marcus Van bavel]

Try the demo version of Raylight for Mac, I’ve had several customers use it for
importing troubled cards. See https://dvfilm.com/raylight/mac

[Marcus Van bavel]

Sorry, I see that you bought the release version.

You have to use the “Organize P2 option” on the Firestore. If not, then the audio files must be renamed xxxxx01.MXF, xxxxx02.MXF, etc. where the video clip name is xxxxxx.MXF

Also they must be separated into VIDEO and AUDIO folders inside a CONTENTS folder. It’s easier just to use the Organize P2 Option.

Raylight will not link with an audio file directly but only in combination with a video MXF file as described above. In the future we may have a Firestore option since this seems to be a common mistake.

Lastly if you want to reach us in a hurry don’t use the forums but go to DVFilm.com and click on Support.

[Marcus Van bavel]

Hi. The demo version does not link the audio, and limits the clip length to 10 sec each.

[Marcus Van bavel]

You might look at Raylight which has a built-in proxy that works with Premiere.

It would allow you to work with a full-res (high quality but compressed) 1920 x 1080 frame and a built-in proxy that is either 1/2 resolution (at full data rate) or 1/4 resolution at 1/5 data rate. The 1/5 data rate option, called Raylight Red, is lower than DV data rate so almost any media workstation can do it. Switching from the proxy to the full res version is a one-button operation. See https://dvfilm.com/raylight