Can any MTS/M2TS Converter repack (remux) Canon 1080i 50 Hz h.264 M2TS-container file to h.264 MKV-container (or MP4-container) file with no recoding (no conversation) – saving the original video stream? The M2TS file format is a real pain. It is touted as HDTV Friendly, but in fact my HDTV will play just about any video file format (directly from an SDHC memory card) except M2TS!! I’ve tried a few MTS/M2TS Converter software, all of them take long time (some files even hours) to convert Canon M2TS, and export MKV video with image loss! I want fast packing and the original quality. Anyone know a best app to remux Canon M2TS to MKV? If possible, I’d like to join some M2TS clips as well….“ 

 

You surely want to convert camera video files with no image loss. Then, what you should do is “rewrap” files with Pavtube Media Magician. AVCHD MTS and M2TS files can simply be remixed using this app. I’ve remuxed tons of 1080p60 Sony MTS files just fine to MKV. And here’s a short guide of how I did. 

Guide: Repack h.264 M2TS to MKV container without recoding 

1. Import M2TS from Canon Camera or local archive. 

Connect the Canon camera with your PC and run Pavtube Media Magician. This camcorder companion tool will detect your camera automatically and ask “Camcorder is connected. Are you ready to launch wizard now?”Click “Yes”to confirm. In the mean time, you are allowed to backup MTS footage directly from camera to local computer. Also, you can import Canon 1080i h.264 M2TS from local archive as well. 

 

2. Drag and drop Canon M2TS video to timeline for organizing/merging/joining. 

In timeline you can remove unwanted .M2TS clips, trim out unwanted frames from specific clip by frame-accurate, and put them into the right order for merging M2TS file while remuxing M2TS to MKV. 

 

3. Set lossless remux mode for exporting M2TS video 

Choose “Output”in the main interface. 

Then switch to “Lossless”> “original”or “Lossless”> “MKV”so as to set Media Magician to remux M2TS to MKV without encoding. 

 

4. Remux M2TS videos to MKV with no conversion 

Finally press the “+”sign to add the task and click the triangle sign to begin repacking MTS/M2TS/TOD/MOD to MKV with no recoding/recomprssion. 

If you’re working on Mac, download Media Magician for Mac instead. There’s another good feature for Mac users – when you have pain importing MTS/M2TS/TOD/MOD/MXF video to iMovie or Final Cut Pro, you can use the app to export Apple Intermediate Codec or Apple ProRes 422 video for natural editing. 

Find more related guides in Pavtube Canon Column and MTS column

Import MTS files to Final Cut Pro 

Make MXF Files from Canon XF Compatible with iMovie 

Changing MTS to DNxHD MOV for Avid Media Composer 

Join MTS for streaming to DLNA-compliant Players 

If you want to MTS shootings to Standard DVD disc or ISO files or folder files for backup or watching, you can try Pavtube DVD Creator for Mac, which can burn HD videos to DVD easily. 

PS. If you have any problem, pls contact with macsupport@pavtube.com to get more information. You also can leave a message on Pavtube Community or Pavtube Facebook, we will answer your questions as soon as possilble.

Canon has a rich and proud history of leaking its own products, with premature camera listings popping up on its own sites anywhere from China to Germany. Last year we tested the  Canon G11 and liked it a lot, but it still had some drawbacks, notably the lack of high-def video recording.

The G12 brings back the one thing missing from the G-series since the G9: High-definition video. The new tank-like camera will shoot 720p, just like its new little brother the S95, introduced yesterday. As with the G11 and S90 before, the G12 and S95 share a sensor, in this case a low-light-loving 10MP CCD.

The lens runs from 28-140mm (35mm equivalent) with the maximum aperture shrinking from ƒ2.8 to ƒ4.5 as it goes. The G12 also gets the fancy new multi-direction image-stabilization of the S95 and keeps its big 2.8-inch tilt-and-swivel LCD. Other “highlights” include in-camera HDR for making hideous, over-colored tone-mapped photos by combining three images.

Put the G11 next to the G12 and at first glance they’re nearly identical, other than a changed model number. The G series doesn’t sport day-glo colors or the thinness of an iPhone. It’s big, bulky and looks quite old fashioned. In fact it looks almost like the new Nikon Coolpix P7000, another $499 digicam marketed to serious photographers. Check out the photos and you’ll see this is not a frivolous piece of gear. It measures 4.4 x 3 x 1.9 (WHD, in inches) and weighs 12.4 ounces without the battery and card, nearly a pound fully loaded.

Look closely on the front and you’ll see one of the improvements—a handy jog wheel right below the shutter. You’ll use this to make adjustments such as aperture and shutter speed when you move out of auto. Also on the front is a 5x optically-stabilized zoom with a range of 28-140mm. We liked this lens in the past, and it’s still a winner. Would we like a longer reach like the P7000’s 7.1x 28-200mm? Sure, but it didn’t feel like we missed much during our tests. Also on the front is the flash, porthole for the optical viewfinder and autofocus-assist lamp. A release button lets you take off the ring surrounding the lens to add optional conversion lenses.

The top has dials that transport older shooters to the good old days of film cameras. The only thing missing is a crank to rewind film! On the far left, you can adjust exposure compensation with a small dial, then move past the hot shoe and tweak ISO (auto through 3200) with another dial. Sitting atop that one is the main mode dial. Here are your key shooting options including Smart Auto, PASM, two custom settings, low light, high speed, scene and movie. Nearby is the power button and shutter, surrounded by the zoom-toggle switch.

With Smart Auto, the camera guesses what type of subject is front of it and chooses the settings. It does this well. PASM stands for Program AE, Aperture/Shutter Priority and full Manual. Low light drops the resolution to 2.5 megapixels for low-noise shots in candlelight, while high speed supposedly takes a shot quickly (this is not true burst shooting, and is pretty useless). Scene gives you access to 20 options, from the usual portrait and landscape options to more unusual ones, such as fisheye and miniature. The one new choice of note is HDR — High Dynamic Range — which we’ll discuss shortly. The movie option is a definite upgrade, with the camera now taking 720p HD video, versus VGA (640 x 480) video on the G11. It also captures stereo audio, which adds fuller sound to your clips. Surprisingly there’s no direct red video button as found on so many 2010 digicams. Canon should re-jigger that with the G13 — or whatever the next model will be called.

The rear of the G12 is the same as the G11. The key features are the 2.8-inch vari-angle LCD screen rated a very good 461K pixels, and an optical viewfinder with diopter adjustment to use if the screen wipes out — it rarely does — or you want to be old school and look through the viewfinder. There are the usual buttons, including a four-way controller surrounded by a jog wheel. On the right side are mini HDMI and USB outs, while the left has a tiny speaker. The bottom of the Made-in-Japan G12 has a metal tripod mount, and the compartment for its battery and memory card. The camera accepts the newer SDXC media, and you should use a Class 6 card or higher for best results.

If you want to convert Canon camera MOV files to other format, download Pavtube Canon Video Converter.

Many firms are SD-based camcorders for compact designs, simply because the technology to flash-based models can be much smaller than those based on the tapes, hard drives, DVD and mini. So that Canon still offers compact AVCHD models, the VIXIA HF20 and HF200 of the company branch with a little more pro prosumer offerings “in the VIXIA VIXIA HF HF S100 and S10.

These two models, which record 1,920 x1, 080 60i video, have a bigger, faster f1.8 10x HD and a relatively large, high resolution 8-megapixel 1/2.6-inch CMOS with high-end capabilities, such as the SMPTE color bars, the ability to manually stimulate up to 18 dB, fixed 70 and 100 IRE zebra, and a user-assignable button / knob combo. They differ only in the internal memory: HF S100 has none, while the S10 32GB HF.

Most controls direct fire on the LCD bezel. The function button draws both the most frequently used settings and the entire menu system to another level. In addition to the usual – white balance, image effects, digital effects, video quality and size of files, programs and a handful of scene modes – the HF S10/100 offer real trigger and opening , shutter speed priority modes options with speed range of 1 / 8-1 / 2000 seconds and aperture from f1.8 to f8, giving you more control over depth of field that you usually see in a Model semi-professional. It also provides the mode of the Canon Color adjustment and gamma Cine to go with its progressive modes 24F, 30F and if it is recorded as 60i. In fashion, you can always choose metering and drive modes as well. Other high-end features available via the menus include three fixed or variable speed zoom mode, xvColor, color bars, and a test tone.

The menu system itself has been updated for a soft feel and the ability to choose the font size. Since the 2.7-inch screen is the typical pattern of low resolution, small fonts look pixelated and would be difficult for some to read. It is fairly resistant to direct sunlight, however.

Navigate down on the joystick while shooting triggers a menu of flight to show the video light (which works in photo mode), digital effects, pre-registration for 3 seconds, the backlight and exposure compensation, up to manual focus, micro-level, face detection and a digital teleconverter. The options are slightly different in the way again, you win and lose the flash micro and teleconverter. It’s especially nice that you always have a quick access to functions that you can not assign to the knob.

The HF S10/S100 also incorporate features of this year, which include video snapshots, videos of 4 seconds to create an underlined “Reel” effect (the ship camcorders with a music CD). I like the idea but the implementation can be annoying. You enter the video mode by pressing an instant hard to feel the button on the left side of the camcorder in the LCD recess. A blue outline appears on the screen. When you press record, a peak travel through the blue outline of your count 4 seconds. He remains in Video Snapshot Mode until you spend reading or press the button again. While I like the way information display works, I think I would have preferred a separate record button, or a choice on the mode dial rather than having it isolated on the button. (For a full account of the characteristics of the HF S10/100, you can download the PDF manual.)

Performance and quality are top notch both its rate up to 24 Mbps and 17Mbps bit. (Recording Capabilities are approximately 5.5 minutes per gigabyte and 7.8 min / GB, respectively. Canon recommends Class 4 or better SDHC card.) The camera focuses quickly and accurately, even in low light. Although battery life is fairly average in its class, it recharges fairly quickly, Canon claims it takes 10 minutes per half-hour of battery life. The optical stabilizer, as usual, works well until the end of the zoom range. The video is superb: sharp, with saturated colors and excellent exposure with relatively few blown highlights. The DigicDV 3 Treatment is solid work by maximizing dynamic range. Show records light at look pretty good too. There is some noise and softness, but it is expected. Audio recordings and clear, too. The camcorder is not perfect, however. exterior shots show a bit of purple fringing on the edges of high contrast, and there is a tendency to color in shades of red and blue. The photos look a bit like overprocessed stills camera and many do, and the flash does weird things to saturation, but overall they are not bad.

If you are a video enthusiast or someone looking for something cheap and portable equipment to supplement your battle horse, identical twins Canon VIXIA HF and HF S10 S100 offers an experience of shooting much better than the harvest current $ 600 HD camcorder – as long as you can live without the viewfinder. The HF S100 is probably the best bargain since the price of a 32GB card should be less than the price difference between the two models.

Although it weighs a little over a pound, the camcorder feels kind of light for its size of 2.8 inches by 2.7 inches by 5.4 inches. Yet this is not a featherweight, and while I integrate it into a jacket pocket loose, it is not very compact. With few exceptions, the camcorder has a beautiful, functional design, with intelligently planned controls and a simplified user interface. The larger size makes it a little more comfortable to hold and operate that way.

Looking at the camera on his head, one of the first things you notice is the strange construction in lens cover that uses a type of eye closure rather than openness, the blade-type design that we usually see. It would not be notable except that when closed, the two plastic parts tend to throw off against each other, because the camcorder is off, this is not a problem just a minor irritation . Instead of putting the video light to the typical location on the side of the lens, Canon put it on the pop-up flash. The stereo microphones sitting on either side of the frame. Although they may be more susceptible to wind noise at this point (if I have no problems), it allows more microphones with better separation than the typical position above or below target . If this is not enough, you can attach a microphone via the mini accessory shoe on top of the camcorder. There is a 3.5mm microphone input on the handle side of the unit, and other connectors – USB, component and miniHDMI – sitting in a covered compartment under the strap. The belt should not interfere a bit when you’re hanging Stuff Up.

On one side of the Canon set a new custom dial, which looks, feels and works similar to the knob on the semi-professional models from Sony. You press the button to activate and use the wheel to adjust the settings you have programmed for – the choices are exposure, development, support functions (70/100 IRE Zebra art ), micro-level, and automatic gain control limit (0 to 18 dB). I like the Sony and here too is a convenient interface for setting options such as exposure and focus, if I am not a fan of it to cycle through the Zebra and advanced options.

As usual, the zoom control and photo button are on top of the camera under your index finger with the mode selector just behind where a viewfinder at eye level must be one of the biggest drawbacks of model-oriented fans, is the lack of an electronic viewfinder. The power connector and 3.5mm headphone jack on the side mode button. One of the two recording buttons located under your thumb on the back. To the left of the zoom control is the small power button is recessed a bit difficult to handle.

© 2010 Camcorder Video Share Site Map Suffusion theme by Sayontan Sinha