Quote Can anyone figure a way to hack the ini for AVI capture/produce in PD?
If one could alter AVI capture to 720 or 704 or 352 by 480 that would be a huuuuuge win.
All three would be amazing.
The reason is those are preferred for tape to DVD, but can be scaled and deinterlaced to 640x480 for streaming.
AVI capture is lossless and 4:2:2 color, and if users of PD could capture and produce those numbers it could eliminate other software in my workflow.
Food for thought. Anyone? Anyone? I suspect a registry hack may also be involved.
If you could get HuffYUV to be the compressor I'll send you a donation of some undetermined value.

Have you tried bandi-cam? PowerDirector Tutorials Team

This is for tape capture and I have been hoping to persuade Cyberlink to port lossless codecs to capture and produce.
I want to stay in-house rather than jump to other software to get highest quality AVI from analog. HP Envy Phoenix/4thGen i7-4770(4@3.4GHz~turbo>3.9)
Nvidia GTX 960(4GB)/16GB DDR3/
Canon Vixia HV30/HF-M40/HF-M41/HF-G20/Olympus E-PL5.
Tape capture using 6 VCR, TBC-1000, Elite BVP4+, Sony D8 camcorder with TBC.
https://www.facebook.com/BarryAFTT

Quote This is for tape capture and I have been hoping to persuade Cyberlink to port lossless codecs to capture and produce.
I want to stay in-house rather than jump to other software to get highest quality AVI from analog.

I have never done tape capture myself do you play the tape and capture it from the screen? PowerDirector Tutorials Team

Quote


I have never done tape capture myself do you play the tape and capture it from the screen?

You run the camera, or tape player through a analog to digital converter and "record" it with software.
Due to the often chaotic signals of analog it is suggested to capture uncompressed or lightly compressed avi lossless codecs to minimise compression artifacts, especially if adjustments to the capture is needed. Color, hue, light, overscan crop, masking, it's analog, so it's a stinkpot.
Tape is mostly dead, but lossless codecs can be used for modern post-production also. HP Envy Phoenix/4thGen i7-4770(4@3.4GHz~turbo>3.9)
Nvidia GTX 960(4GB)/16GB DDR3/
Canon Vixia HV30/HF-M40/HF-M41/HF-G20/Olympus E-PL5.
Tape capture using 6 VCR, TBC-1000, Elite BVP4+, Sony D8 camcorder with TBC.
https://www.facebook.com/BarryAFTT

PD17 already has all that for capturing in AVI. It is 640 x 480/60i with no compressor. See the three details highlighted in red in this screenshot. If you want a different PAR like 352 x 480 then you need a flag and compression in the codec which won’t be uncompressed AVI.

Quote
You run the camera, or tape player through a analog to digital converter and "record" it with software.
Due to the often chaotic signals of analog it is suggested to capture uncompressed or lightly compressed avi lossless codecs to minimise compression artifacts, especially if adjustments to the capture is needed. Color, hue, light, overscan crop, masking, it's analog, so it's a stinkpot.
Tape is mostly dead, but lossless codecs can be used for modern post-production also.

Yes not many have tape any more. I have never been asked to do anything like this. I pulled up some youtube videos and found it very interesting though. thank you for sharing. PowerDirector Tutorials Team

I don't have any capture hardware so it's difficult to even see what the choices are, but chances are that the settings are hard coded into the program, like I believe the WMV produce settings are.

Even if there's a .ini file or registry key involved, it's also possible that there are built-in constraints to force the settings to "acceptable" values (overriding anything in the file/key). In the past I've tried manually editing the project AR in the .PDS file to something requested on the forum, like 1:1, but PD simply rejected the whole project with an error message that it was made with a newer version of PD.

Still, I'll try to keep this in mind for when I have some downtime.

YouTube/optodata

DS365 | Win11 Pro | Ryzen 9 3950X | RTX 4070 Ti | 32GB RAM | 10TB SSDs | 5K+4K HDR monitors

Canon Vixia GX10 (4K 60p) | HF G30 (HD 60p) | Yi Action+ 4K | 360Fly 4K 360°

1:1 AR requires side cropping of normal 4:3 or16:9 AR videos and reprocessing in VLC. Both Tony and I have shown how to achieve this in another forum. There is one YT video I posted last year showing this.

Quote 1:1 AR requires side cropping of normal 4:3 or16:9 AR videos and reprocessing in VLC. Both Tony and I have shown how to achieve this in another forum. There is one YT video I posted last year showing this.

Right, and I'm glad you guys found a straightforward workaround. I was just trying to find a way to force PD into that mode to see if I could also get it to directly produce to a custom 1:1 produce profile, but that approach was thwarted by the project file parser.

Honestly, I only brought that up here because I wanted to lightly temper expectations that one of us might be able to accomplish the AVI hack. I guess I just can't stand the thought of making Barry any more crabby

YouTube/optodata

DS365 | Win11 Pro | Ryzen 9 3950X | RTX 4070 Ti | 32GB RAM | 10TB SSDs | 5K+4K HDR monitors

Canon Vixia GX10 (4K 60p) | HF G30 (HD 60p) | Yi Action+ 4K | 360Fly 4K 360°

Quote Can anyone figure a way to hack the ini for AVI capture/produce in PD?
If one could alter AVI capture to 720 or 704 or 352 by 480 that would be a huuuuuge win.
All three would be amazing.
The reason is those are preferred for tape to DVD, but can be scaled and deinterlaced to 640x480 for streaming.
AVI capture is lossless and 4:2:2 color, and if users of PD could capture and produce those numbers it could eliminate other software in my workflow.
Food for thought. Anyone? Anyone? I suspect a registry hack may also be involved.
If you could get HuffYUV to be the compressor I'll send you a donation of some undetermined value.

DV format in 60Hz variant is 4:1:1, in 50Hz variant is 4:2:0.

https://en.wikipedia.org/wiki/DV#DV_compression

IMO is not a "capture" per se, because the signal is digital and is just "copied" over, without changes. I am rezerving "capture" only from analog signal, when it involves a DAC.
I always used a firewire cable in my IEEE 1394 (FireWire/i.LINK) card and the free WinDV software, with option to save it as Type-1 or Type-2 AVI:

http://windv.mourek.cz/

This quest is for analog tape capture.
The 720 is the best preservation of luma and chroma, according to those that care.
It seems the shape of the pixels plays a role in 4:3 viewing. I get very confused if I get to deep.
Perhaps I’ll drop it, I don’t want to be repeating the same goals lest I be banned for being annoying. HP Envy Phoenix/4thGen i7-4770(4@3.4GHz~turbo>3.9)
Nvidia GTX 960(4GB)/16GB DDR3/
Canon Vixia HV30/HF-M40/HF-M41/HF-G20/Olympus E-PL5.
Tape capture using 6 VCR, TBC-1000, Elite BVP4+, Sony D8 camcorder with TBC.
https://www.facebook.com/BarryAFTT

Quote This quest is for analog tape capture.
The 720 is the best preservation of luma and chroma, according to those that care.
It seems the shape of the pixels plays a role in 4:3 viewing. I get very confused if I get to deep.
Perhaps I’ll drop it, I don’t want to be repeating the same goals lest I be banned for being annoying.

Related to that, my analog capture device is my miniDV camcorder (Canon Elura 60). The US version allows analog video input and digital (FireWire) output to the PC (via a setting in the menu).
What's good about that is that it allows both composite and S-Video connections. So if the output device has an S-Video out, using that is a great improvement on both luminance and color quality. This is because the color doesn't get mixed with luma only to be extracted using a comb filter that "mushes" also the luma in process. On the analog video tape, those signals are recorded separated, so it's good to keep them separated.

The 720 resolution includes the analog blanking signal too, so if the video is dedicated to be viewed on PC, than the 704 pixel horizontal resolution is enough to crop the "active" portion of the video (the image) and saves bandwidth, compression.
https://en.wikipedia.org/wiki/Pixel_aspect_ratio#Analog-to-digital_conversion



PS: In the EU camcorder models usually that Video DAC function is unavailable, mainly because import tax resons.

Quote


Related to that, my analog capture device is my miniDV camcorder (Canon Elura 60). The US version allows analog video input and digital (FireWire) output to the PC (via a setting in the menu).
What's good about that is that it allows both composite and S-Video connections. So if the output device has an S-Video out, using that is a great improvement on both luminance and color quality. This is because the color doesn't get mixed with luma only to be extracted using a comb filter that "mushes" also the luma in process. On the analog video tape, those signals are recorded separated, so it's good to keep them separated.

The 720 resolution includes the analog blanking signal too, so if the video is dedicated to be viewed on PC, than the 704 pixel horizontal resolution is enough to crop the "active" portion of the video (the image) and saves bandwidth, compression.
https://en.wikipedia.org/wiki/Pixel_aspect_ratio#Analog-to-digital_conversion

PS: In the EU camcorder models usually that Video DAC function is unavailable, mainly because import tax resons.

I had an Elura 100 DV but it did not have Svideo. I do my DV and HDV with my Vixia HV30, it can be used as a passthrough. No Svideo. My Video8 camera is run through a dongle, again, no Svideo.
Everyone's looking forward, I have fun looking backward! I do have a Panny DMR ES-15 I often use as a passthrough and it is quite good at limiting dot-crawl from RCA connectors. HP Envy Phoenix/4thGen i7-4770(4@3.4GHz~turbo>3.9)
Nvidia GTX 960(4GB)/16GB DDR3/
Canon Vixia HV30/HF-M40/HF-M41/HF-G20/Olympus E-PL5.
Tape capture using 6 VCR, TBC-1000, Elite BVP4+, Sony D8 camcorder with TBC.
https://www.facebook.com/BarryAFTT

Quote

I had an Elura 100 DV but it did not have Svideo. I do my DV and HDV with my Vixia HV30, it can be used as a passthrough. No Svideo. My Video8 camera is run through a dongle, again, no Svideo.
Everyone's looking forward, I have fun looking backward! I do have a Panny DMR ES-15 I often use as a passthrough and it is quite good at limiting dot-crawl from RCA connectors.

Did you look in the manual? This is from my Elura 60 (common with 65/70).



LE: I have looked and ideed, the "newer" model didn't have that. Sad. You can get an Elura 60/70 for less that $100 on eBay.