This is the setup I use to convert VHS tapes to H.264 video files.
I’m using a Panasonic DMR-EZ48V DVD Recorder + VHS VCR to play back my VHS tapes. For this exercise I obviously don’t need the DVD drive but this was the only device available to me and it works pretty well.
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To capture video from the VCR and save it to my computer I’m using a USB device called EasyCAP, they are a pretty popular device. I purchased this online for approximately $30. There are lots of clones of this device.
You will also need an RCA audio/video cable, sometimes referred to as AV jacks. I already had one of these cables laying around the house.
As a heads up I only use the video jack (the yellow one) from the RCA cable to plug into the VCR and into the EasyCAP device. In my experience the audio didn’t seem to work with EasyCAP. As an effective work around I used a separate audio RCA Y adapter cable with 3.5mm jack. Another cable that I already had laying around the house.
I connect the white and red jacks into the VCR and the 3.5mm jack into my computer’s line-in jack (it’ll be blue coloured). If you’re using a laptop you probably won’t have a line-in jack but the microphone jack should work fine.
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That should be all the hardware requirements.
The software on my computer that I’m using is called VLC media player. This program is free and open source plus it works on MS Windows, GNU/Linux, Mac OS X, FreeBSD and Android etc. It’s brilliant, you’re probably already using it. I should also point out that my OS is Xubuntu (GNU/Linux). I did have issues trying to save to PAL format using Linux Mint.
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VLC instructions
Step 1 – Open Capture Device
Step 2 – Select video and audio devices
Step 3 – Convert captured video to raw format. You can convert to a different format as you are capturing but from my experience I wasn’t able to view what I was capturing unless I was capturing as raw. You’ll produce some pretty massive files capturing in raw format e.g. 30min = 35GB. You do have lots of options available if you decide to play around with the profile which is greyed out on the following screen because I selected Dump raw input. Select the Start button to continue.
Step 4 – Record video and save to file. Your video should now be playing on the screen, if not you may have to press play on your VCR and/or VCR remote. You can now watch the video without recording it. To start recording press the red record button, a file will be automatically created in the background. The recording process will take as long as it takes to watch through the video i.e. if you want to record a one hour video it will take one hour to record it. Press the stop recording button to stop recording, this will also stop your video play back.
An avi file will be created and the file name will contain the current date and time, the following is an example.
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vlc-record-2014-09-20-11h04m46s-Streaming-.avi
It should be obvious but remember the quality of your created digital video file will only be as good as the quality of your VHS video tape.
The following is a list of resources I used when setting this up for myself.
To convert your raw format video into H.264, I use the OpenShot video editor. You can easily import the avi file, edit it, although depending on the file size (if it’s large) your computer will probably chug a fair bit then export to the format you require. You can also choose some nice open video formats such as ogg or webm to export to.
The Codex Vault series is the next-generation, modular, location-based media-management environment. Fast transfers, automated production management, full reporting, rugged design and a compact size make the Codex Vault the hub of any on-set or near-set file-based workflow. The Codex Vault supports digital cinema cameras made by ARRI, Sony, Canon and other industry leaders. It’s a stand-alone solution requiring no external drives or processing. It’s designed to eliminate much of the complexity involved in designing workflows while taking full advantage of the efficiencies of file-based production and the ability to share rich metadata.
The Vault has its own internal processor and works with Codex 1 TB Transfer Drives for automatic backup of camera-original data. It provides a single, standardized workflow regardless of the camera with a simple user interface that anyone can use. It has the capability to generate deliverables in all formats required for dailies review, postproduction and archive using the groundbreaking Codex Virtual File System (VFS).
THE WORKFLOW
In order to understand how the Codex workflow is implemented, it makes sense to trace the workflow through each step of the production process. On a medium-budget feature film, around two to three hours of ARRIRAW material typically is shot per day. Each recorder has three or four Codex Datapacks associated with it. These datapacks can be 256 GB (25 minutes record time), 480 GB (46 minutes record time) or 512 GB (50 minutes record time). The de-Bayered output of the Codex can be fed to a monitor for a gate check, and the Codex recorder makes it easy to check the last shot recorded by pushing just one button.
Datapacks are delivered throughout the day’s production to a near-set environment equipped with a Codex Vault S Process + Archive. The datapacks are loaded onto the Vault and immediately cloned to two Codex Transfer Drives. All metadata is verified and amended or corrected, if necessary. The camera report is checked against the recorded shots, and circle takes are marked. At the beginning of production, the Codex Virtual File System on the Vault was set up to create Avid MXF files for editorial, ARI files for archive to LTO-5 tape and DPX files for visual effects. Metadata from the camera is recorded along with the image files. This includes camera settings, white balance and exposure, but also can include other metadata like lens data that can be used later on in visual effects. Approximately 30 minutes after production wraps for the day, the director and crew can view dailies, editorial has their MXF files, and the ARI files are being written to tape.
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So how do all of these different Codex components work together on an actual film set and in post? Daniel Hernandez was the DIT (digital imaging technician) on 2012’s The Avengers, a logistically challenging, multicamera studio blockbuster. 'The ARRIRAW output was captured by the Codex Onboard Recorders. I was using color from Technoprops for four cameras, real-time live color. With this system, I was able to have the speed needed to keep up with all four cameras. I could do the color on all of the cameras at the same time or copy from one camera to another. Each time the Codex would start recording, it would grab the CDL [color decision list] for its own camera. When the Codex mags went to EFILM, they had the CDL log, the CDL that the Codex grabbed and some recorded reference video files. For the dailies creation, postproduction was using a Codex lab to back up to a local SAN, LTO and also to do VFX pulls. EFILM had a Codex Transfer Station to do the same.'
At this point, it probably bears explanation that Codex also has established a strong working partnership with Avid. As you may be aware, Avid’s DNxHD 444 has become a favorite codec in feature-film production. Codex Digital is one of the first companies to fully integrate the Avid DNxHD 444 codec into all its products, including the Codex Digital Lab, Codex Transfer Station for Mac OS X and the brand-new Codex Vault series. The Codex Virtual File System allows the user to transcode to DNxHD 444, as well as other types of Avid DNxHD for generating MXF deliverables. Codex products allow productions to capture at the highest possible quality—for example, ARRIRAW with the ALEXA—and then provide a simple workflow for archiving the original camera files and making deliverables for editorial. Unlike the DNxHD files produced by other systems, the files produced by Codex systems don’t have to be imported into Avid through AMA (Avid Media Access) and so aren’t linked but accessed directly, streamlining the editorial process.
Looking at the slate of upcoming feature films being shot with Codex Digital recorders and media management systems, combined with strong partnerships with industry leaders like ARRI and Avid, Codex Digital seems to be well positioned to continue its growth as one of the predominant successors to the traditional film workflow in feature and television production.