2013 Lossless MTS M2TS Editor and Converter for Camcorder Fans

Are you a beginner of video editing? Do you want to edit the hundreds of movies shot by cameras, camcorders, Smart Phones, and tablets in various formats? Do you want to save your storage space by trimming and deleting unwanted parts from MTS or M2TS videos without quality loss? Do you want to convert camcorder videos into Apple ProRes, AVI, or other formats for better editing in Final Cut Pro, Avid Studio, Adobe Premiere, Pinnacle Studio, Sony Vegas, Windows Movie Maker, etc? Do you want to remove ads from TiVo shows and watch them on your tablets, SmartPhone or Apple TV?

If yes, you can do all of the above with one simple and easy video editing software for beginners, Pavtube Media Magician, or its Mac version, Pavtube Media Magician for Mac.

Free Download and Trial for Windows or Mac

Free Trial on Windows
Free Trial on Mac 10.5 & 10.6
Free Trial on Mac 10. 7 & 10.8

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What can Pavtube Media Magician (for Win or Mac) help you?

• Input: 

Camcorder footages: MXF, AVCHD(MTS, M2TS), AVCHD Lite(MTS, M2TS), MOV,TOD, MOD, etc.

Other video formats: *.avi,*.divx, *.wmv, *.wma, *.asf, *.dvr-ms, *.wav, dts in wav, *.rm, *.rmvb, *.ra, *.mov, *.qt, *.mp4, *.3gp, *.3g2, *.dv, *.m4b, *.m4v, *.m4a, *.aac, *.flv, *.f4v from YouTube, Hulu, Fox, etc., *.dat, *.mpg, *.m2v, *.m2t, *.m2ts, *.ts, *.tp, *.evo, *.mkv, *.dv, *.flc, *.fli,*.gxf, *.pss, *.mvi, *.mtv, *.vdr, *.pmf, *.pva, *.k3g, *.vp6, *.nsv, *.nuv, *.dmskm

• Output: 

Common format: MPEG-2 (*.mpg), MPEG-4 (*.mp4), *.avi, *.wmv, *.mov, *.mkv, *.m2ts

Device: Andoid Tablets and smart phones, Windows Tablets and smart phones, iPad, iPhone, Apple TV, HD Player, PSP/PS3, HDV

• Editor: 

For Windows: Avid Media Composer (*.mov), Adobe Premiere & Sony Vegas (*.wmv, *.mov, *.mpg), Adobe After Effect(*.mpg, *.mov), Cybelink PowerDirector (*.avi, *.wmv), Pinnacle Studio(*.mp4, *.mpg).

For Mac: iMovie and Final Cut Express (*.mov), Avid Studio (*.mov), Adobe Premiere (*.wmv, *.mpg, *.mov), Adobe After Effect (*.mpg, *.mov), Apple Aperture (*.mov), Final Cut Pro (Apple ProRes MOV).

• Lossless: Original format (*.mts, *.m2ts, *.mod, *.tod), MKV (*.mkv) 

• Online: YouTube (*.mp4, *.webm) 

• Features:

Import/ backup/ manage camcorder footages
The smart camcorder wizard helps connect camcorders to PC and import directly from camcorder or backup camcorder videos to local.

Lossless output from AVCHD MTS to MTS or MKV
Output Apple Prores MOV, lossless MTS/MKV, MPEG-2/4, AVI/WMV/MOV/MKV/M2TS.

Output Apple ProRes MOV for editing in FCP without rendering (Mac only)
As long as you have right version of FCP installed, you can output Apple ProRes MOV like Apple ProRes 422, Apple ProRes 4444, etc.

Timeline editing easily trim, cut, delete, and join
To output videos you can drag relative source from resource list and trim, cut, delete, and join. You can seek the clip frame by frame.

Add 3D and other special effects to clips on timeline
Want to get 3D effect to your clips? It’s easy with Media Magician. Just a one click, you can add the effect. And you can also add simple Gauss blur, old film, etc.

Enlarge or reduce original volume
If the volume is too large or too small, you can drag bar in Volume Adjustment section to enlarge or reduce.

Adjust brightness, contrast, and saturation
For footages shot with low light or bad color, you can easily make them better with the help of brightness, contrast, and saturation adjustment.

Easily choose output formats with one click
With the preset output profiles, you can choose the right settings with just one click.

Output different formats from the same sources on timeline
In conversion settings section, you can create several conversion tasks with different output formats and output from the same sources placed on timeline.

Directly upload videos to YouTube
The converted videos can be uploaded to YouTube directly as long as you have set your account and relative information.

Output M2TS, MPEG-4/2, MKV, MOV, WMV, AVI files
It supports output formats like M2TS, MPEG-4 (*.mp4), MPEG-2 (*.mpg), MKV, MOV, WMV, and AVI. You can reset parameters with ease.

Reviews from customers of Pavtube Media Magician and Pavtube Media Magician for Mac:

1. Works well on Windows 8. Successfully transcoded a .TiVo file to MP4 format.

- D.C.

2. Runs flawlessly on Win7. It does lots of things Moviemaker can’t do, like changing brightness etc. The conversions can be very useful as well. For me it is good to have. Thanks

- Sepp

3. …The benefit of lossless trimming for me is that often I set up one or more cameras at an event and let them roll, sometimes for hours. This is done in anticipation that something interesting might occur in that camera’s field of view in the next couple of hours. Out of all those hours there might only be a few minutes I really want to keep. This results in enormous files with only a few seconds of really good footage. Ideally I wish to keep only the good bits and delete the rest but so far I’ve found no way to extract the bits I want to keep and delete the rest without any loss of video quality…

- Doug Thompson

4. Installed fine on Mac 10.7 and Win 7 ultimate 64.

- Beth

5. Pavtube Media Magican! Perfect for my use. I shot movie of my younger daughter few years ago. And with today I succeed to take still pictures out of the movie. And same time I edited mistakes out of the movie. I highly recommend it for Mac users!

- Jari, Lahti, Finland

6. Very nice program. I can now leave my PC and some of the editing software I’ve purchased over the years and now use my Mac with Media Magician. I just converted a bunch of Thanksgiving and Christmas videos and added some cool effects as well.

- Trey, Dallas, Texas

7. A very good program, I was able to import an AVI file, crop it to size, then imported an MP4 file, added the two files together play them without rendering and exported to an MKV file within minutes. Highly recommended.

Now get this "Lossless MTS M2TS Editor and Converter 2013"!

Read More:

• How to Solve the freezes when importing MTS media to Premiere CC-2015.3?
• How to Convert MTS/M2TS with Handbrake Easily?
• Best Solution to Play Sony MTS/M2TS Files on MacBook Pro
• Play MTS on Smart TV (Windows and Mac Solutions)
• Top 5 MTS/M2TS Video Editors for Mac
• Top 5 MTS/M2TS Video Editors for Windows (10, 8.1, 8, 7, XP, etc)
• Fix Choppy Issues When Importing AVCHD Files to FCP
• Join and Convert MTS/M2TS Files for playing with VLC Player
• How to Convert 3D AVCHD MTS to 3D Tablet for Watching?

Panasonic Lumix DMC-G6 News, Reviews, Tips

Lumix DMC-G6  Hands on:

Panasonic has just announced a new member to their lineup of mirrorless digital cameras: the Lumix DMC-G6. This camera succeeds the G5 and adds to it an array of performance and imaging enhancements, many of which are focused around improved movie recording and the integration of built-in wireless connectivity. Enhancing the G6 is the new Lumix G Vario 14-140mm f/3.5-5.6 ASPH POWER O.I.S. lens, which is also an update of a former product and features an increased maximum aperture and lighter overall weight. 

G6 specification highlights: 

• 16MP Live MOS sensor 
• ISO 160-12,800 (extendable up to 25,600) 
• 3.0", 1.04 million dot capacative LCD 
• 1.44 million dot OLED electronic viewfinder with eye sensor
• Full AVCHD 1080/60p video with full manual control (and 2.4X digital teleconverter option) 
• 3.5mm external mic socket 
• 7 frames per second continuous shooting, 5 fps with AF-tracking 
• 23 Scene modes including 'Cute Desert' and 'Sweet Child's Face' 
• iAuto mode can automatically detect when to use 9 scene modes 
• 'Clear Retouch' touch gesture-based heal tool 

FAQs: 

1. What is the body made of??
   
   The body of this camera is made out of a composite material.
2. Is it compatible with batteries from older models, or is it a new battery design?
   
   The G6 uses a 7.2V, 1200mAh battery, Panasonic product number DMW-BLC12. As far as I can tell, this is the same battery used by the G5, GH2, and FZ200.
   
   
3.  Is is possible to log & transfer G6 recordings to FCP 7?
   
   Many Panasonic users may encountered import AVCHD files to FCP 7 problem. It is due to the format and codec incompatiblity. FCP only works in specific formats and video resolutions. The material from this camera has to be converted to FCP friendly codec, such as apple prores. So converting G6 footage to ProRes is the best method.
4. How to remove the rendering time and smoothly edit G6 MTS files in FCP X ?
   
   As we know, Apple ProRes 422 codec MOV format is best supported video codec and format for FCP X. And Pavtube iMedia Converter for Mac can help you easily transcode G6 MTS to Final Cut Pro ProRes 422 codec. 

Tips:

This Mac Panasonic AVCHD Converter can be your best partner to convert Panasonic AVCHD MTS for FCE/iMovie and make Panasonic AVCHD files editable in Avid Media Composer.

How to Shoot Slow-Motion Aerial Footage on the Sony F55 with Andrew Wonder

Great aerial footage seems simple enough to capture in theory, but there is often a team of people or years of experience backing up the terrific shots. In the post below, we have Andrew Wonder to take us through his process of capturing aerial footage of a female rugby team on the Sony F55.

This is a guest post by Director/Cinematographer Andrew Wonder.

If you were at NAB, then you already know that 2013 was the year of the drone. You could barely walk around the convention floor without the risk of getting a haircut by someone’s spin on the aerial rig. Though they look like toys, it’s easy to forget that operating a drone is an art that should be carried out by professionals. Like a Steadicam, you can’t just pick one up and expect cinematic results. Understanding how to balance and control these crafts is the difference between that perfect shot and ending up in the river.

For over a year I have been lucky enough to work with Anthony Jacobs and his team at Perspective Aerials. Not only has he helped capture some amazing shots to add to my commercials, but also has always impressed me with his desire to be a trailblazer and stay ahead of the curve of what a drone rig can handle.

Jacobs is a New York City based photographer and former Getty Images employee and has been a lifelong ‘tinkerer’ and avid RC enthusiast since he was a child. In 2006, Jacobs obtained a provisional patent on a custom wearable harness with a high-gain 2.4ghz antenna incorporated into the stitching that was worn by editorial photographers shooting in the field which allowed them to wirelessly transmit images to awaiting photo editors some distance away.

Early in life, Jacobs dreamed of being a robotics engineer, spending many hours dismantling his collection of RC cards to create other more ‘useful’ machines such as a 5-axis robotic arm able to move objects around. It’s almost like Anthony’s whole life built up to creating this drone which is why, even when things like the Movi come out, it’s important to remember that it’s the soul of an operator that is always more important than the tool he or she uses.

A good aerial rig is the cross-section of many factors but most importantly it’s a battle between weight and flight time. In theory, many rigs could handle the weight of a Red Epic, but lifting a heavy camera means nothing if your flight time is only a minute long. Creating rigs that can support heavier cameras while still getting a 4-5 minute flight time makes all the difference in getting that second take or capturing a magic moment as it unfolds in front of you.

A few weeks ago, I was fortunate enough to see his new rig, which allowed us to upgrade from smaller cameras like the Canon 5D Mark III and Sony FS100 to their big brothers the Canon C300, Sony FS700, and Canon 1D C. Anthony also modified JAG35 pieces to create a focus system that would give him even more control over the shot. Though it was a short test, I was blown away with Anthony’s results.

While director Laura Strausfeld and I were prepping her next feature (an adaptation of Chekhov that uses new tools in a way that will make Shane Hurlbut drool), she brought me in on a project she was trying to develop about a college female Rugby team. After gaining access to a team, we decided to make a short film to help sell our vision of the feature (very much like Ryan Koo is doing with Amateur) and to show audiences how impressive and inspiring these athletes can be.

While discussing the tone of our rugby short, we wanted to be careful not to go too Nike or get too indulgent with the game footage. Unlike male Rugby, the female version is not just about lining up and beating the snot out of your opponent. It’s a much more technical game and we wanted to capture the way girls communicate and their formations on the field. When watching the games live, the teams look like flocks of birds moving towards and away from each other, but in most game footage we only get a sense of the ball’s movement. Our goal was to capture the emotion of the game and put the audience in the middle of the scrum.

While planning the project, I contacted Anthony to see how we could further elevate our story using drone photography. We didn’t just want overhead shots but a way to give context to our ground coverage and make each play feel like the epic conclusion to an Animal Planet special. After talking about different angles and strategies, we discussed which format to shoot. Since our ground cameras will all be 4K, we wanted the same high resolution and pop from our aerial cameras. We quickly realized the perfect camera perfect camera for this task would be the Sony F55.

The Sony F55 is a very polarizing camera. On paper it’s everything we’ve been hoping for in a camera. Between high frame rate onboard 4K recording, a global shutter, and compact modular design, the F55 felt like the answer to getting true cinematic results out of Anthony’s drone rig. With the help of Mike Nichols, Alex Kurze, and Pete Abel at Abel Cine Tech in New York, we were fortunate enough to get an F55 to fly for the project. Having flown other Sony cameras, such as the FS100 and FS700, we were aware of balancing issues created by the long body length of both cameras. Having only read about the F55, we were curious to see if we would run into these same mounting issues.

After shooting, we were able to verify our shots using Sony’s Content Browser 2.0 (if you are planning on shooting with the F55, go download it now while it’s still free). I tried to use Andy Shipsides’ F55 Import Guide from Abel Cine Tech’s blog to bring the footage into FCP 7 or Premiere, but quickly realized XAVC is still not playing very nicely with either program.

As a workaround, I downloaded a free 30-day trial of FCP X and used Andy’s guide to import the footage. During the import process, I had FCP X create Prores HQ transcodes, which editor Justin Sharp was able to bring into FCP 7 to create the above video. All the BTS footage you see here was captured by Dave “Cobra” Ellis.

The above aerial footage is not color corrected, so you can see what S-Log 2 looks like right off the card. There was also no post stabilization done on any of the aerial footage. I’m not sure if this is because of Anthony’s rig or because of the help of Sony’s global shutter, but it’s the smoothest and most cinematic drone footage I’ve been fortunate enough to witness. If you would like to download some of the original 4K transcodes, you can download them here until May 15th.

We have just begun to go through the rest of our Rugby footage, but the aerial shots alone have made my whole team very excited. I can’t wait to share the final piece with you all.

For your drooling pleasure here is some additional gear porn of the F55 on the drone. Thanks for taking a look!