Canopus DV Codec is a DV video codec. Play and import DV video with any tool. Freeware OS: File size: 811KB Old versions. 8.9/10 2 votes Rate it. Mac = Mac download version. It works on 32-bit and 64-bit Mac OS. Mac64 = Mac OS download version. It works only on 64-bit Mac OS. AVI-Datei mit Indeo Video 4.4-Codec in anderen Codec umwandeln Rendertests: 8 Core Mac Pro unter Mac OS X 10.11 (El Capitan) u.a. Canopus ADVC 500 Canopus Let's Edit 2 Canopus DV File Converter OT: Canopus ADVC 300 Canopus mit Tempenc Canopus ADVC-50 fehlender Chip Canopus ADVC-50 kein Ton DV Kamera oder Canopus Hardware Hilfe Canopus ADVC 55.
Canopus Codec For Mac Iso
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Like many of you, I cut my teeth in the video business more years ago than I care to remember. But I do remember threading up a 3/4in. video tape recorder, and I shot for years with S-VHS and Hi8 (Y/C signal) equipment. Then, the DV tape format and the IEEE 1394/FireWire/iLink digital transmission protocol came along and brought affordable digital quality within almost everyone’s reach.
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The new Canopus ADVC700 offers professional analog/digital video and audio conversion.
But like most independent videographers, I have two persistent challenges. First, what to do with all the stock footage and projects on the old analog formats, and how do we preserve, store, and use those resources with modern equipment? And second, even with the popularity of the DV format, most broadcast stations and high-end post houses still prefer a Betacam SP tape (YUV signal). Thousands of videographers are in the same boat.
Enter Canopus, which makes a media converter for every need and budget with its ADVC product line. The new ADVC700 was shown at NAB 2006 for the first time and is the mid-range unit between the other two Canopus broadcast-level products (the ADVC500 and ADVC1000). The Canopus ADVC700 is a professional bidirectional analog and digital conversion tool in a solid 1RU space.
The ADVC700 has all the features and I/Os one would expect in a professional video format converter at this price point — you definitely get what you pay for. Other solutions do similar feats for less money, but the 700 provides more versatility. Users can take a traditional composite video, S-Video (Y/C) or component (YUV) signal and easily convert to and from various DV formats via digital IEEE 1394. (The ADVC1000 offers similar features, but with SDI.) Stereo XLR balanced audio, RS-422 device control, ref synch input, and LTC timecode I/O are all provided in the self-contained unit.
Users control the unit via the jog knob on the front panel and small LCD screen. The 700 works with the NTSC and PAL standards, and it is Windows and Mac compatible.
The ADVC700 uses Canopus’ proprietary DV codec chip, which processes video in the higher-end 4:2:2 color space. Canopus’ PerfectSync technology eliminates the problem of dropped or duplicate frames or mis-synched audio. Canopus codecs are regarded as some of the best and most innovative available today. The ADVC700 includes Canopus’ two-pass variable bit rate (VBR) compression, advanced motion-estimation algorithms, and full YUV color-space processing.
The ADVC700 is an effective tool, preserving — and even improving — the quality of the original input source and operating at the highest speed. All this functionality indeed comes at a price (around $2,000), so the converter is targeted at serious professional edit facilities and broadcast stations. To see if it measures up to these applications, I put the ADVC700 though some serious conversion work.
The ADVC700 is like the black boxes of yesterday, before almost everything was done with software. It’s simplicity itself — plug in various decks and mixers and away you go. Everything is converted in realtime. I converted approximately 20 hours of material from various video formats with virtually no glitches. I converted Hi8 underwater footage via a Sony TR81 camcorder, old VHS and S-VHS tapes played back via a JVC HRS-9911U S-VHS deck, and DV tapes from a Sony GDY-900 and DSR-11 (for PAL). I rolled out to a DV VTR and, in some cases, to a Sony Betacam SP UVW1800 VTR. Just for the fun of it, I also took footage in and out as the same format — in Y/C and out Y/C, for example.
Much to my pleasant surprise, the conversion seemed to improve the video signal. While some of this is subjective (personal visual preferences and judgments) — a user might like a signal that’s more saturated, while others prefer video with a certain hue — other aspects are measurable on a waveform/vectorscope. The converted video signal looked markedly better, with improved shadow detail, less color bleed, and an overall sharper image. The vectorscope showed a more solid signal form hitting closer to the YMC/RGB target areas, with the waveform showing an improved black level. One of the main problems with digitizing video, or when converting from analog to digital or from one format to another, is that the final video has accumulated visual or audio artifacts, and dropped or corrupted frames. The Canopus PerfectSync firmware in the ADVC700 heads off any signal disturbances internally.
With connections in the back, all the controls are on the front. The LCD lets you know what video is coming in and out, and also the various audio settings (32K, 44K, and 48K; 16- or 12-bit). When an error occurs, such as the lack of a video or reference input signal, the converter lets you know — the letters on the LCD turn red. Bright lights on the faceplate indicate whether you are converting from analog to digital or vice versa — handy in a dark edit suite.
Through the sub-menus of the unit, I also found its specifications to be quite tweakable. For example, I can change and control the defaults of control luma, chroma, black level, hue, contrast, saturation, sharpness, audio level, and headroom. While it took a few clicks to get to these adjustments, it was great to have access to them.
Being able to control the playback/record deck via RS-422 was a boon because the 700 converts DV device control signals (supported in any NLE program) to RS-422 for professional VTR control.
The unit hooked up via IEEE 1394 to both a PC running Windows XP and a Mac running OS X 10.3, digitizing the footage directly to the hard drive. (Of course, you need NLE software to handle production via the computer.) I can then roll out to DVD for great quality and reduced storage space.
The ADVC700 is hard not to like. If I had my way, though, the LCD interface screen would be a little larger. And I can’t wait for Canopus to produce the ultimate converter with every format and digital transmission standard (IEEE 1394, USB 2.0, and SDI) and HD support. But there is something to be said for Canopus’ “family of products” approach. This way, you don’t need to buy more converter than you need.
The content stored on legacy video formats needs to be preserved and digitally converted so that it is once again useful. That’s where a product like the ADVC700 comes in. It’s a product that will eventually pay for itself. After all, everyone has videotapes to convert.
There’s a real science and an art to converting various video and audio formats to and from analog and digital formats, and Canopus arguably can be called the leader in this area of technology. Add the Canopus ADVC700 to your post suite and “video format conversions” to your rate card, and you’ll pay for it in no time, while preserving your own videos for the future. The ADVC700 can help you get from format A to format B and back effectively, and with style.
bottomline
Company: Canopus
San Jose, Calif., (888) 899-3348
www.canopus.com
Product: ADVC700
Assets: High quality, multi-format, simple operation, good support.
Caveats: High price point, no SDI I/O
Demographic: Professional edit facilities and broadcast stations that need to convert to or from the DV or YUV formats.
PRICE: $2,199
To comment on this article, email theDigital Content Producerstaff atdcpfeedback@prismb2b.com.
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