16:9 DVCAM output

hi... im shooting a video with my PDX10 in DVCAM and in anamorphic 16:9... the footage looks phenomenal color and resolution wise, but when im editing, or even previewing from the camera (the AV cable from the camera's output to a TV) the footage is stretched vertically to fill the screen... is there anyway in FCP to have the footage output normally to show us the footage as it should look?
also, how would i print to tape, or export for DSP so that the video displays correctly... as i've never done this, im not sure how it would best be done (or at least, most efficiently). i've thought of taking the 16:9 sequence and nesting it in a 4:3 sequence, but then, i would have to rerender the entire thign right? i would rather not... if at all possible...
thanks mucho
matty

You need a monitor capable of being set to 16x9.
anamorphic in, anamorphic out.

Similar Messages

Shoot in HDV, Output to DVCAM

I am a newbie to the HDV format and have been outputting programs simply using the print to video command in final cut and a DVCAM deck. I have some HDV footage that may or may not need to be mixed in with DV NTSC footage and was wondering the best way to go about editing/outputting this footage for broadcast on DVCAM.
Would the quality really suffer if i simply edited all of the footage together on a DV NTSC timeline? I figured better that than editing on a timeline better suited for the hdv footage.
Also, one last thing, as far as planning ahead what is the best way to shoot HDV if you know that you will be outputting to DVCAM, I have heard that 1080i 60 is the best wayto go but wasn't sure.
Thanks in advance,
Tyle

Just finishing a project that I did exactly this. It was shot on HDV with a Sony camera. I captured HDV and did a downconvert in the deck to DVanamorphic, recapturing exactly the same clips. You might want to capture and keep the HDV material for use in a SD sequence. On occasion, we found a shot we wanted to blow up and reposition. I simply dropped the HDV shot in the SD timeline and scaled and repositioned. This material was indistinguishable from the SD 100% material. Very handy.

Edit DVCAM but output in HDV - possible?

Dear All
I would be very interested in hearing any views in what many of you might find a very simple question.
I have shot a project in Sony HDV.
I would like to down convert and edit in DVCam (to save disk space and because I’m nt sure my Mac can edit happily in HDV).
But I need to output a final edit in HD.
Do I have to delete all the original media files and re capture them in HDV once the edit is finished or can I copy the FCP project file to another drive? If I do this will it mind that I re digitise in HDV or will it expect/want the footage to be re digitised as DVCAM?
Also I wish to do picture in picture and I only have a Dual 2.7 Ghz PowerPC G5 with 8GB DDR SDRAM. Can I re digitise in HDV or should I go for a less processor intensive Apple codec?
Any help is much appreciated
Thank you
Jasper

I would like to down convert and edit in DVCam (to save disk space
Well, to burst that bubble DV and HDV have the EXACT SAME data rate. Both take up 3.6MB/s or 13GB per hour. That is how they both fit on a DV tape. So guess how much THAT footage is compressed? You will not get any drive space savings going to DV.
If you did capture DV, then recapture HDV, you'd use the Media manager and the CREATE OFFLINE option, then only recapture what you used in the cut. There is a whole chapter on this in the manual...you can find this in the HELP menu and search for MEDIA MANAGER and find it fast.
Shane

How to output a 16:9 movie to a DVCAM deck without letter boxing it

I need to take a 16:9 movie, convert it to DV codec so I can then export it to a DSR25 DVCAM deck. How do I squeeze the 16:9 footage onto the 4:3 DVCAM format, so when I play the footage from deck out of the deck it will be unsqueezed by the 16:9 monitor and play back normally?
I can't seem to find the setting or filter to tell FCP to export a squeezed version.
Any ideas?
Thanks!
Mike Kroesen
Freelance Editor, Seattle

I've never heard of a pro deck having a consumer dvd-style setting that automatically corrects for anamorphic footage. That would be a monitor setting if you ask me.
I'm a little confused by the question however, are you working with hd source material? Any 16:9 SD should be anamorphic anyway so the only thing necessary would be to play out to your deck as is.
What is the source footage? and the sequence setting?

Output sequence to dvcam using sony z1

hey folks~
im having problems getting a sequence to tape - i am connected via firewire to z1 camcorder
have tried both print to tape and edit to tape - i do have control of the cam when using edit to tape...
have not even seen a signal on the z1 tho
i have changed several of the in/out settings on the cam as well
anyone have any suggestions or have this prob?
thx
rm

What are the sequence settings?

24fps output to tape doesn't work

I have a 24fps sequence (which I'm outputting to film) and want to output it to DV tape. But when I print to tape, or even playback the sequence with my deck recording it, only the first image appears, with no movement. I'm using a Sony DVCAM DSR-11 deck via firewire.
How can I print my sequence to tape?
thanks
Scott

Studio X wrote:
No, not the aspect ratio, it is the FRAME SIZE.
As noted, standard DV video (whether 4:3 or 16:9 anamorphic) is 720 pixels wide x 480 pixels tall. This is what your device at the end of the firewire cable is expecting.
Ah, of course, makes sense.
I suspect the frame rate has something to do with it as well. I exported the sequence as a QT movie and reimported it into a 720x480 sequence at 24fps; it still wouldn't output. I then imported it into a 720x480 sequence at the DV frame rate and it did output (although adding a lot of extra frames of course).
Thank you all for your excellent advice.
Scott

Output Timecode to DSR-45

Hi All,
I'm trying to figure out how to output timecode to my Sony DSR-45 DVCAM deck. I know FCP doesn't output TC over firewire, so I purchased the Keyspan USA-28X to connect the RS-422 deck control to a USB port. I have no problem capturing video and controlling the deck using this method, but I still can't output the darn TC.
For example, if I try to Black and Code a tape, the system just blacks a tape with the constant TC of 00:00:00:00.
Any suggestions of how I can fix this?
Thanks.

Firewire out thru DV isn't broken...it wasn't supposed to be there in the first place. It isn't accurate after a long output. Which is why I only use it to black a tape for a minute or two.
NO system should send out timecode. The way I have always done things is to black a tape striping timecode using the deck to preset the code. Either the whole tape and then insert edit, or the first couple minutes then set the deck to generate new code as I Assemble Edit. The deck manages the code, not the NLE.
Even with my little fix that uses SimpleVideoOut, I only black the first few seconds of the tape...then I let the deck regenerate the code. This is because the deck doesn't allow me to set a start timecode (the similar model JVC DVCAM deck does...a VERY useful feature).
TC to DSR-11
Since FCP 4 we have been unable to stripe a new TC such as 00:58:00:00 or 01:58:00:00 to a DVCAM tape with the DSR-11. NO MORE!! I think I found a solution.
Get SimpleVideoOut from the Apple (its free):
http://developer.apple.com/samplecode/SimpleVideoOut/SimpleVideoOut.html
Then create a QT Movie in FCP or Xpress Pro from a sequence which has the starting TC you want on the tape. I just tried it with 00:58:00:00. In the timeline, I just put Bars & Tone for 90 seconds and a black slug for 45 (to take me over 01:00:00:00). You could create a sequence with whatever combination you wanted with the TC set to start at whatever timecode you need for your choice. But the Timeline TC MUST be set to your desired starting code. The exported QT file will have this TC in it.
Then load this DV QT movie into SimpleVideoOut (having selecting Firewire / Apple Firewire PAL or NTSC when you open the app).
Now load a fresh DVCAM tape and set your DSR-11 to:
REC MODE = DVCAM
DV IN TC = EXTERNAL
(Have the TC display turned on for this first test so you can verify it has worked.)
Then just hold the REC and PLAY buttons together on the DSR-11 and press play in the SimpleVideoOut app and the new TC will be recorded to your DVCAM tape. Hey presto you are now able to stripe a tape with what ever timecode you want using a DSR-11.
Remember to turn 'DV IN TC' back to INTERNAL on the DSR-11 when you come to record your edit to tape.
The problem with the DSR-11 is that it is not the best deck and starting recording at the exact TC, but playing with the pre-rolls should eventually get it spot on. I have had some success with FCP's 'Edit to Tape' and very good results with Avid Xpress Pro after a few tweaks.
Also, if you just had a black QT file, you can change the starting TC to suite the tape; i.e. 00:58:00:00 or 02:58:00:00 etc without going back into FCP or Xpress Pro and rendering out another QT. To do this, just use Sebsky Tools to alter the starting TC of the file.
http://www.dharmafilm.com/sebskytools/
Shane

Output to NTSC format for DVD

Hi,
I am from the UK, I filmed some DVCAM footage in PAL format, but bringing it into FCP to output onto NTSC and onto DVD for a Canadian conference / Broadcast.
Can i simply change my project and capturing settings to
get the footage to run at NTSC (even though it was filmed in PAL?)
And if i want a UK edit of the film do I need to recapture all my clips at PAL settings or can this be done via the DVD output???
cheers
Chris

Sadly no its not that simple not so much because the image sizes differ but more because of the difference in frame rates.
Your options after you input edit and master in PAL
Convert to NTSC using a transfer house
Convert to NTSC using Compressor (can be slow)
Convert to NTSC using Nattress' plug-ins (will cost you money but they work)
http://www.nattress.com/Products/standardsconversion/standardsconversion.htm
Convert to NTSC using JES Deinterlacer (free and works)
http://www.xs4all.nl/~jeschot/home.html#DEI
This will give you an NTSC Master to compress for DVD

Capturing Computer Activity on DVCAM deck

I am looking to capture the activity on a computer for a seminar that we are shooting. Is there a tablet type device - PC or MAC - that anyone has used that allows for s-video, firewire, or composite outputs that can be plugged directly into a DVCAM deck (Sony DSR11 is what I have) so that I can just pop in a DVCAM tape, hit record on the deck, and capure everything that happens on the screen? It would need to have some type of tablet type functionality so that the instructor could "write on" the tablet and that activity would be captured on output.
If anyone has created a similar set-up, I would be very interested to know.

What kind of ports does the Computer have? If it has a Video out (like on some laptops) you could easily just hook up an RCA or S-Video cable from the computer to the Deck.
You could also look into Converters. I have one for my laptop that converts the monitor out signal into an S-Video.
Lastly, you could try doing a capture using a screen capture program. This will be much more taxing on the computer itself, and would be risky at best for long seminars, but it's possible (something like Snapz Pro).
With any of those options, if you have the opportunity to test the setup now, rather than on site, that would be best <smile>.
~Luke

Output 24pn video for television?

Here is the situation. I’m working on a video which I shot 720p 24pn on my HVX200. I need to output the video onto tape to play on local TV channels (so I'm assuming i need to make the tape NTSC 29.97 interlaced, 720x480)
I’m using fcp 5.1.4. My sequence is set to 'DVCPRO HD 720p60' with the frames per second set to 23.97.
*This is my question- What is the best workflow step by step going from the 720p24pn timeline to a NTSC tape?*
Can FCP add the pulldown to the 720p 24pn footage? Id so how do I do that? If not, do I need to use an external plugin like Graeme Nattress GAddPulldownDown to do the pulldown and then convert the frame size with compressor? Any other suggestions? Then do I bring that converted video file back into a FCP DV NTSC timeline and print to tape?
I am not familiar with handling progressive footage and 24fps footage so any advice is much appreciated- I just want to make sure I do it right and it looks the best it can.
Thanks

Where in Montana? I lived half my life in Missoula, and went to college in Bozeman.
You gotta talk to the channel as to what they will take. SD 29.97 NTSC doesn't say much at all. BetaSP, Digibeta, DV, DVCPRO 50, 3/4" Umatic, MII (they had MII at the PBS station in Bozeman...ugh). Don't figure on anything...ask them. Just because it is Montana doesn't mean it is completely backwards. I have no doubt they have beta and digibeta tapes. But, being as low cost as the TV stations must be, I'll wager that DV and DVCAM are more the norm.
If you have a DVCPRO HD deck and you are ouputting DVCPRO HD, ONLY THOSE DECKS will remove the pulldown. And an HVX-200 isn't a DVCPRO HD tape mechanism, that is DV. You cannot downconvert from DVCPRO HD to DV via firewire, much less remove the pulldown, and just dropping a DVCPRO HD 23.98 clip into a DV timeline and rendering won't do it either. FCP is horrid at removing the pulldown. Find a deck and export, or export a self contained file and take it to someone with a Kona or Decklink card.
Man, the faculty at MSU have approached me with the idea of teaching as an adjunct for a year. That is heavy on my mind...
Shane

Combining 1080i and 1080p HDV footage on single timeline, for SD output?

Hi All
Help! I'm a cameraperson/director who was has just shot a largeish doccie project on a Sony HVR-V1E. My technical background is in stills, so I hope you'll forgive some ignorance here.
BACKGROUND: The vast majority of the footage was shot HDV using the 25fps prog scan mode on the camera. I really don't like interlace jaggies and I was advised that this was the obvious way of getting away from them, and made for very useable footage when output as standard def interlaced PAL. However, some footage for the project was also shot on a small Sony HDR-HC9 (PAL) camera. The HC9 has no progressive scan mode, i.e. this footage is 1080i50.
The primary broadcaster for this doccie requires delivery on Beta SP, standard def PAL. Because of the 16:9 aspect ratio of the HDV format, the film will be delivered letterboxed, black above and below.
THE MAIN QUESTION: We'll be editing in FCP 6.0 . My editor is more of an Avid person, and is concerned that without proper setup we'l end up with issues later on when we downsize to SD, especially because we'll be combining prog-scanned footage with interlace-scanned footage. We need to know whether to set the sequence presets as HDV 1080i50 or HDV 1080p25.
We're planning to edit as an HDV project and downscale to SD using Compressor. I know this downscaling is likely to take a long time, however we've been advised that editing in HDV is less intensive than going the ProRes route, and the quality of the Compressor downscale is better than that of the other 'within FCP' options.
I've been advised to set the sequence preset to i50, but I'm not sure if Compressor has a harder time resizing interlaced footage than progressive footage. Common sense tell me it'll be easier to resize a progressive frame and then split it into two interlaced fields without artifacts, than resizing and regenerating interlaced fields from 1080 down to PAL dimensions. However, if the sequence preset is p25, will FCP deal with the bits of i50 footage in the project OK?
Also, I've been told but cannot confirm that the Sony HVR-V1E camera scans progressively in 25fps prog scan mode, but encodes each progressively-scanned image as two interlaced fields on the tape, i.e. as 1080i50 images. Is this true? If so, it would surely mean that the sequence preset should be 1080i50 with progressive-scanned imagery emanating from this model of camera.
I hope this makes sense!
Regards
Adam Welz, Cape Town

Hi,
FCP is open format timeline based, so it will transcode the footage according to the first clip on the timeline. so it will not be a problem for two different formats. i've used DVCAM, HDV formats together it has done for me nicely.
but check the result before proceding further ahed in edit in both preset format.
and using Compressor is not a good idea for broadcast I believe, it is ok if there is no other option is with you. It is better to do it with the hardware rather than software.
I use realtime Blackmagic hardware for down converting HD to SD with letterbox directly to tape.

Outputting a 16/9 sequence to tape for lab work

Hi to all,
this is probably going to sound like an awfully stupid question to most of you. But i need to find the answer before morning, so your help is greatly appreciated.
I need to output a 16/9 sequence to DVCAM. it is being sent to a lab tomorrow for color correction, mastering and encoding.
The lab specifically needs the footage on tape.
My first intuition was to export to tape the 720x576 quicktime movie. The frame size would be the original captured size, and then would be flagged as anamorphic at the lab.
Or should i output as a letterboxed 4/3 film.
see what i mean?
thanks for your help.
tee.

That seems to make a lot of sense!
thanks Jerry.
tee

HDV downconverting vs shooting on DVcam

Hello everyone,
Having just found out i can't view my HDV project on a monitor (perhaps I should of realised this earlier) and having read many a thread on the pros and cons of HDV i wanted to ask a question:
What is the qualititve difference between shooting on HDV on a Z1 and downconverting on camera (assuming my end product will be mastered to DVD or DVCAM Master) and shooting on DVCAM in the first place.
I was told recently that the Z1 is no more than a PD180 if you will. slightly better than the PD170 but basically only good for SD.
Any help with this would be greatly appreciated because then i can finally sort out my workflow. and who doesn't enjoy doing that.
Thanks,
Fred

I have a second monitor, widescreen, FCP can use it as an HDTV monitor because like all computer monitors, it is progressive and has the required pixels to display the image. I use the RAW setting for that monitor so the video is displayed dot for dot.
The rule given to me years ago was always shoot the best possible video. Then you can do what ever you want in post. You can't improve a poor image, but, you can down convert a great one.
HDV has a smaller file size than DV and a smaller bandwidth. I really enjoy editing in it, now that FCP supports it. (it really sucked when I had to use 3rd party software to prepare HDV for editing in FCP)
When I am done with my edit, I just leave it to cook overnight with compressor. I have a folder of all the output I need the next day. Mpeg2, AC3, Portable media player, an HDV master to put to tape, and if it is needed then an animorphic DV file.
We started shooting with a JVC HDV camera 2 years ago, now when the HD-DVD players hit the consumer market we have several back titles that we can re-release in HD, while our competitors are scrambling to upconvert their DV video.

CG output - 720p or 1080i

I am working in computer graphics, so I am rendering a sequence of images to be edited in FCE HD. 30fps, going to digital tape for projection on theatre screens.
I've determined that hd video will be fine. Now I need to determine which type, 720p or 1080i. Since I'm not coming from a camera, that isn't an issue. But I do choose the size of my renders, 1920 X 1080 or 1280 X 720.
Any input on the pros and cons of using either one? I assume that bigger is better, but what does interlacing or progressive scan really mean in practical terms. Does one limit tape options? Should I render the larger size, so I can do either?
Thanks in advance.

Different film festivals accept different formats for exhibition: miniDV, digibeta, DVCAM DVCpro. So it could be anything! Most seem to accept DVD. So I would like to be prepared to dub down as needed.
So, I don't plan on going as high as D-1, and I haven't studied the costs involved, but perhaps digibeta or DVCAM.
To get it there I will probably take my hard drive to a facility which could output it for me, whether it's post house, or a friend with a production facility.

Best output question

We were given a tvc to put together using clips from a local tv station (DVCPro and DVCam). We put the entire thing together in Motion in a DVPAL Anamorphic project, with tons of FX plug-in effects (blooms, light rays, glass brick diffusions,etc.) that won't render out in FCP. Now that it's built we need to output to Beta. So not sure what to do at this point because we don't have a Beta deck. I'm guessing that we should export it out of Motion in either Apple animation codec or in 10-bit uncompressed and then take it into a 10-bit uncompressed FCP sequence, export that as a Quicktime and deliver that to a post house to output onto Beta. But not sure if that's going to give us the best quality - which we desperately need because this is going out on tv and is going to be playing on the facades of a couple skyscrapers.
G5 2.5 Ghz Mac OS X (10.4.9)

Hey Thrillcat - it's a PAL project. And what's strange is that Motion gives you NTSC SD and NTSC DV as separate options, but when it comes to PAL there's only PAL DV-Broadcast SD (which is what I'm working in). The frame rate isn't a problem, it's 25 fps throughout. So I assume I output it via Compressor as 8-Bit uncompressed PAL? Or am I missing something here?
Michael - we'll definitely talk to the post people before we lay it onto Beta. And your advice is well heeded. Shanghai's a seriously tricky town when it comes to post. Most places are just a couple kids running a pirate version of Adobe Premier. There are a couple FCP shops, but they're expensive (especially when they find out you're a foreigner).
G5 2.5 Ghz Mac OS X (10.4.9)

16:9 DVCAM output

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