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  • DVFilm and Raylight

    Posted on November 26th, 2007 Alan No comments

    It’s not easy explaining my job to friends and family.  I explain “I help write software that helps film makers in their post production editing”.  My bio on our website describes what I do more succinctly: “…develop new software products for the Raylight family of plugins for HD editing”. People generally understand that but to be more specific requires some knowledge of film post production work flow and/or familiarity with high-end video editing software such as Sony Vegas, Adobe Premier, or Apple’s Final Cut

    Specifically, this is how our software can help a film maker during editing.

    DVXUSER.COM is the place to go for discussions and help on film making.  Our Raylight product is well known and recommended there because it solves some work flow problems.

    Here are some of the threads at DVXUSER describing why people use our products:

    P2 Card transfers

    cheap pc laptop- P2 re capture to mac workflow

    How Raylight works around Apple’s Final Cut software issues

    “Get Raylight, and all this will disappear. Raylight fixes every problem that Apple seems to introduce. It seems like every other version Apple breaks something in their log & transfer/import P2 functionality. Raylight has been stable and fixes all that, plus it lets you avoid all the duplicate file size stuff and the time it takes to import footage. Now more than ever I consider Raylight a mandatory portion of an FCP workflow.”

    Q. Raylight is a way to access your P2 footage without changing or converting it in any way? I guess what I want to know is does it actually remove the pulldown or just let FCP see it that way. Can Raylight in any way change the information I save from each P2 card dump to my hard drive. I downloaded the demo but am still a bit confused.

    A. FCP does a translation of MXF files into Quicktime files all in one go. Raylight does it on-the-fly, as-needed. So your original footage stays untouched in MXF format, but Raylight creates a Quicktime reference file that FCP can use.
    The difference is that you get instantaneous access to your footage, instead of having to go through the Log & Transfer process. And you can work from the original footage or even the P2 cards if you want, whereas FCP’s Log & Transfer forces you to take up twice as much space by creating Quicktime files (which take up space but also take time). Plus, because you avoid the whole Log & Transfer process, you avoid any issues that crop up when Apple breaks their system (which has happened on more than one occasion).
    So Raylight doesn’t change anything. Your original footage stays intact, unmodified, untouched. But it can automatically skip 24pA pulldown, which is very nice and gives you access to the true pure raw 24P footage.
    “I would say most people I know who shoot HD and edit on a mac absolutely use Raylight. Its a no-brainer and makes the post process totally painless.”
    Ultimately yes, it’s the fault of Apple for insisting on converting away from the native file format when no other editor makes you do that. However, that’s completely overcomable on both sides — on the Apple side you can use Raylight and edit the native MXFs and never run into this again. Or, on the Windows side, now that the damage is done, you can use the Raylight Quicktime Decoder and access the Quicktime DVCPRO-HD files.So either way Marcus can bail you out.

    Concise statement of why you use Raylight with FCP even though there is a way to ingest MXF files directly with FCP

    Accolades to Marcus for Raylight

    THANK YOU for doing all that you’ve done to solve these problems of various manufacturers not playing nice with each other! You’re truly a hero to the HVX community! – Barry Green

    “Darn useful thing” 


    Toaster: If you’re not converting to QT – what are you doing with your MXF files???  Is there a better way to deal with HD data / info?”Barry Green: Of course there’s a better way — just edit them right as they are. Every NLE on the market can do that (excepting FCP, of course, and Sony’s Vegas). But you can get that same functionality with Vegas or FCP by using Raylight.

    So forget the whole “log & transfer” step. Pug the card in, drag the files to the timeline, and edit. A P2 card’s fast enough to allow up to six streams of realtime streaming HD, simultaneously.
    Imagine when you’ve been out shooting for a week, offloading cards to an external hard disk, and you’ve offloaded maybe 8 or 10 hours of footage… when you get back to your edit station, wouldn’t it be nice to just plug that hard disk in and edit IMMEDIATELY, without going through that Log & Transfer process? Well, you can.

    Download the trial copy of Raylight and give it a try.

    Toaster: Actually – that’s a nice feature for being able to show clients a cut as well.  A sort of VTR-lite! I’ll have to check out Raylight – being an FCP guy


    Mac to PC discussion

    if you work between the two Operating systems, Raylight maybe the only RAY of hope


    Vegas 8 Pro, Raylight, and Windows Vista – A review


    Raylight to the Rescue again getting Avid edited files to work in FCP


    solve my Strange 32G P2 problem

    Yet another FCP problem… sigh.  My stock answer is always the same: try the demo of Raylight and see if it doesn’t just make all your problems go away…

    Raylight is the program Panasonic should have shipped with all their P2 cameras


    I recommend to everyone to ditch Apple’s Log & Transfer, and use Raylight instead


    Five Reasons Raylight is essential for FCP users wanting ot use P2:

    Raylight is, IMO, absolutely essential for FCP users wanting to use P2. It does many things for you. The first of which is, all that time you spend in the log & transfer window just disappears. Raylight creates quicktime reference files instantly, so you can just plug in your external drive and edit instantly. No importing, no logging and transferring, just immediate editing.

    Second thing is, FCP’s import window occasionally just refuses to import perfectly valid clips.  Raylight always imports them.  So you’ll save yourself some frustration there.

    Third, Raylight uses the metadata, and in fact can use it rather intelligently. It can sort your clips based on the metadata into individual project folders, doing some manner of media management for you automatically.

    Fourth, you get access to the User Clip name function, so you can name your clips with custom names in-camera, and Raylight preserves them. So when it comes time to edit, you don’t face a bunch of 0003RU.MXF files, you instead get “Marriott Commercial Take 1.mov”-style names.

    Fifth, Raylight lets you author virtual P2 cards and export them back out to cards, if you have need of doing so.

    Run, don’t walk, to get it.  It’s the best P2/FCP workflow enhancement tool on the market.

    That’s why I think Raylight is so nice. You work off the MXF files.


    P2 Import Mystery
    Wish Apple would get with it and allow FCP to use MXF files directly but until then Raylight is the way to go.


    “I’m going to be shooting for 10 days straight (no editing for a couple weeks at least), and I’ll have multiple shots – likely hundreds. How can I organize them??”

    “If you’re doing lots of projects and you want to organize this stuff and you want to take advantage of the power of the metadata and you want to use FCP, all together, then I highly suggest you get Raylight. Raylight knows how to use and preserve the metadata, it knows how to name your clips with proper user clip names, and it can even sort the clips based on the metadata so it can put different clips in different bins automatically.”

    Workflow, working with P2, in the Field and in the Studio


    “Spend $195, get Raylight, and put all the FCP importer bugs behind you once and for all. FCP’s importer is notorious for occasionally refusing to import perfectly valid clips.”  [DVXUSER.ORG]


    DVFilm Maker review


    Getting Quicktime files created by Final Cut Pro working on  a PC.

    “Yeah it would be great if you could just capture any old codec in QuickTime on a Mac and drop it into Avid on a PC. But doesn’t work that way. HVX logged and transferred into FCP becomes DVCPROHD QuickTime .MOV, which is not a codec that Windows QuickTime player supports.”
    .
    .

    “An alternative is to have your Avid editor install
    the Raylight DVCPRO-HD Decoder software, which was
    designed specifically to overcome this quicktime incompatibility. Apple doesn’t
    support DVCPRO-HD on the Windows version of Quicktime, but if you buy &
    install the Raylight Decoder, it adds DVCPRO-HD
    decoding to Windows Quicktime which will mean that your Avid guy can now use the
    files.”

    Portions of this post duplicated HERE at DVFilm.com

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