4:3 footage to 16:9 output

I want to capture footage shot in 4:3 on my Canon GL2 into FCE 4, but edit and output the final movie in 16:9. (I shot the 4:3 using the 16:9 guidelines in my Canon to accommodate the expected change in aspect ratio.) What Easy Setup selections do I make?

I have no idea what Canon means by "16:9 guidelines," and I can only assume that it means anamorphic material.
All anamorphic means is that the camera squishes 16:9 information into a 4:3 frame while capturing. The material can then be "un-squished" upon editing and for playback.

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How do I output the smoothest video when changing or mixing frame rates from the original footage?

I have been experimenting with various Media Encoder settings, and wondered if there was anything else I can try to get the smoothest video output possible, especially when changing frame rate and possibly resolution. For clarification, let me start from the beginning and explain what I'm doing and what I've tried so far. I'll try to be as brief as possible, but if I do go into too much detail, I apologize.
My original footage is AVCHD 1080p - 60fps. (my camera only does 60fps...specifically 59.94fps) We're not talking interlaced video here, I'm staying away from that. This is definitely full frame, progressive video at 60 frames (not fields) per second. My output will ultimately be for the web. I have been keeping my output codec (H.264) and bit-rate (VBR 2-pass, relatively high-bitrate) consistent, and have been trying numerous output options and even sequence settings to see what would yield the best results. I am using Premiere Pro CS5.5 along with Media Encoder. Here's what I've done and the results I've observed:
1. I created a sequence with 1080p - 59.94fps settings to match my original footage. I then output both 1080p and 720p versions at 59.94fps, and at 29.97fps. The 59.94fps output files looked absolutely great, as would be expected. Extremely smooth. The 29.97fps output files were generally smooth, but not near as smooth as the 59.94fps. This is expected since it's half the frame rate as my original footage. However, my question is this: What exactly is Media Encoder doing when "down converting" from 60p to 30p? From a technical stand point, is it dropping every other frame? I'm just curious to understand exactly what it does. I tried the Frame Blending option as well, and that only yielded a bit more blur to the images which wasn't desirable for any of the output files.
2. Just to see what would happen, I created a sequence with 1080p - 29.97 settings. I then output both 1080p and 720p versions at 29.97fps. The video was much more choppy in these cases, even with Frame Blending on. Now, I know not matching my sequence settings with my original media isn't ideal, but I again just want to understand why this yields less smooth video than the 29.97fps options above. Why does cutting the sequence settings frame rate in half from the original, then outputting the same frame rate as the sequence yield video that is not as smooth?
3. Next, I wanted to try mixing frame rates to see how Premiere and Media Encoder handled the footage and output files. Premiere handled it great, no issues there. However, I had some interesting things happen when I output the files. Here's what I did: I created a sequence with 1080p - 59.94fps to match my original footage. Then I took the same exact footage that was in my sequence, copied it in my project panel and interpreted it at both 23.976 and 29.97 fps, yielding slow motion video. The slow motion video looked great in Premiere, so I went ahead and just added it to my sequences, along with the original 59.94 footage. I also created separate sequences for the 29.97 and 23.976 footage respectively, each with matching sequence settings, then added a nested sequence to another original footage sequence (with 59.94fps sequence settings) to see which yielded the best results. Basically, I'm trying to output 59.94fps that match my original footage, but also throw in some slow motion footage at different framerates. I'll explain my results in a moment as they are a bit convoluted, however, here is my question: When mixing frame rates and trying to output the smoothest video, am I going about this the right way? I would assume you would use your sequence settings that match the original footage (which is what the majority of the footage will be), then bring in a nested sequence for the slow motion (as oppose to just dropping the slow motion video directly into my main sequence), and then output to the same frame rate of the majority of the footage, in this case 59.94fps. Is there a better workflow for this?
The results to #3 above were as follows. Initially, it looked like it didn't matter if I nested the slow motion sequence into my main sequence, or simply dropped the actual slow motion video into my original 59.94fps sequence. It seemed to produce smooth results either way. Frame Blending blurred the video a bit, but didn't seem to make much difference, and quite honestly I like the footage without Frame Blending in general. However, when I closed down Premiere, and opened the output files later (opening in Quicktime), the footage looked choppy. In fact, it would go from choppy to smooth and back, almost like it had an irregular cadence (don't know if I'm using "cadence" in the right context here). I would then open up Premiere again, import the output footage into my project panel, and play the footage in Premiere, and it would play back smooth again. Is this a Quicktime issue? I was playing 1080p 59.94fps files when this happened, so maybe it's just because it's a large file. Doesn't seem to have issues with the 720p files I created. But it sure threw me off with my testing because I then started second guessing the settings I was using. My iMac is the latest 2011 model with plenty of RAM, so I wouldn't think it's the computer. Thoughts?
4. Next, I noticed on ALL my output files (again, using the H.264 codec from Media Encoder) that the color of my video seemed to flatten quite a bit. It seems that the original footage has more contrast and saturation than the output files. I figured maybe this was just how it was, but when I re-imported the output files back into Premiere, they looked IDENTICAL to the original footage. And in Media Encoder's Source/Output windows, I don't see any difference there either. Is Quicktime again the culprit here, doing some odd things to the color of my videos?
5. Regarding Frame Blending, when is the best situation to enable this option in Media Encoder? I've read it is when mixing frame rates, but I honestly didn't see too much of a change except for a bit more blur, which I didn't care for.
6. Lastly, my conclusion is that 60fps yields the smoothest video, which is an obvious conclusion. However, I know that 60fps isn't the best or easiet frame rate for web delivery. It seems 30p is more the standard. Are there any integrated web players that would play 60fps? Can you get 60fps video on YouTube/Vimeo? If yes to any of these questions, can they do 720p and 1080p at 60fps?
Those are all my questions. I hope I am clear enough without being overly wordy and hopefully I didn't put too many questions into one post. Thanks in advance for any insight, I really appreciate it.

Did you ever figure out which output worked the best? I have the same original footage; trying to determine the best output settings to make a dvd for tv.
thanks!

Viewing FCP output on HDTV-Suggestions Please?

Hey All
I have FCP 6.0.6 and Ive been trying to view the output on an HDTV with a Canopus AVAC-100
(yeah its older) I can see it -but it wont play --I have All frames checked and the footage is a
SD output. The video is just froze on the TV.
Am I missing something? Is there something I have to fix in FCP or just breakdown and buy a new
Matrox MXO2 Mini ??
Matt

Your Canopus device does not work with HDV.
To monitor HDV in native form, you need a different device to convert the signal from the computer to the monitor.
If you have a MacPro, the least expensive card solution is the BlackMagic Intensity. More expensive are cards from AJA (the Kona Series) and BlackMagic (Decklink)
The Matrox MX02 can be used as long as you have a spare slot for the connection card (can be a MacPro PCIe or a MacBookPro Expresscard34)
The Matrox MXO is connected via a DVI port to drive a second monitor (as long as the monitor is a 23" ACD or 24" Dell).
If you don't want to purchase any devices, FCP6 and up has a setting that will downconvert the HDV timeline to DV for output via firewire. This doesn't show you a very accurate image.
x

Speedgrade CS6 won't apply my Look in the final output

So I have this problem where I try to output a quick color graded version of my source footage, but the final output shows no difference. In other words, I import DSLR footage, make all the necessary adjustments (in this case I just applied a look that I saved previously) in SG then render it out as a ProRes 422. The ProRes version looks the same as my source (DSLR) footage (minus a few megabytes) and doesn't look as if my saved look was ever applied.
My Output settings are as follows: (NOTE: I have changed all of my output settings trying to solve this problem and, no dice. So I can only assume that it's not a problem with my output settings)
Output:
Format & Options = Apple ProRes 422. Automatic color calibration = Unchecked. Write ALE file to output path = Unchecked. Render annotations = Checked
Use the same burn-in as playback, No calibration lookup table, Time code source = Source
Framing:
Full Image (No Proxy). 1:1 (square). 1080p
Render
Offline Quality (fast).
My system specs are:
Mac Pro OS X 10.10.1 (Late 2013)
3.5 GHz 6-Core Intel Xeon E5
16 GB 1866 MHz DDR3 ECC
AMD FirePro D500 3072 MB
Hop I provided enough info.
Any help is appreciated.
Thanks!

With your theory in mind of it being a permissions problem, I went ahead and moved my Looks from an external drive to my computer. Still no dice. Although, do you believe that it might need to be in a particular place on my computer? Like say, a SpeedGrade folder inside and Adobe folder inside my library folder? I don't see why that would matter. I found a rather time consuming fix. If I open the Look in After Effects, I can apply it to the video clip but that's just a little convoluted.
I'll keep searching for a solution and post any updates. Thanks for your help thus far!

Setting Progressive Wrecks Output Quality

I have a Premiere sequence that contains only progressive footage, all comps rendered from After Effects. The Premiere project is PAL widescreen, which by default sets to Lower Field first.
The client wants this as MPEG2, so I add the sequence to Media Encoder. It reports the source as Lower Field, as it would, but I need the output to be Progressive, so I set that in the Basic Video Settings dialog.
I can see in the preview that the quality deteriorates severely, with edges pixellating and textures fizzing and swimming through shot as the camera moves. Nasty.
If I set the output to Lower Field, the quality is fine.
I don't understand why setting Progressive, deinterlacing, is doing so much damage to the output - it's wholly unacceptable to me and the client, but I'm a bit stuck and need some help please.
The client is putting this movie onto kiosks, and the media players they use, according to the supplier, need CBR 5.5 Mbps and Progressive. I can query why not Lower Field, but that aside, it's this issue of setting Progressive doing so much damage.
Thank you for any help.
Julian.

I think I've figured out how to sort this out.
I found this thread:
http://forums.adobe.com/message/3780954#3780954
Which is a not dissimilar issue, at least on the quality hit. So I created a new sequence, but this time changed the default Lower Field First to Progressive, in Sequence Settings. Now I'm getting the expected decent MPEG2 output - progressive footage, progressive sequence, progressive output.
I went through alot of formats this morning, both in Premiere and Media Encoder, but in every case, outputting the Premiere sequence (set to Lower Field) as Progressive, resulted in badly degraded video.
I guess what threw me was that I jumped from Premiere Pro 6.5 to CS5.5, and in Pro 6.5 I recall you would set a PAL Widescreen sequence which was Lower Field first, load up both progressive and interlaced footage, edit that, then output a Progressive file without problems.
I'm wondering now what CS5.5 is actually doing to cause this issue, and indeed what I should do if I need to mix Progressive and Lower Field ... on this experience, use a Progressive sequence I guess. I suppose I had better run some tests and get familiar with how and what.
Julian.

Best output file type for further editing

Hi - I was hoping someone could help me with this. I'm making shots which composit various source material (cgi, still images, video from a Canon 7D, etc) which I intend to then edit in premiere for a final output which is as lossless as possible. The trouble is shots which are even a few seconds long render out at several Gb (thus making the final edit enormous - 30Gb+ for two minutes of footage).
I started outputting with quicktime (animation codec) but was advised to switch to targa sequences but these are pretty huge as well.
What would be the recommended output for most lossless quality?
Thanks in advance

Welcome to the world of video compositing, where quality and file size go hand in hand. I'm working on a project today that is a 7 minute promo video, and the current job folder is just under 1 Terabyte. If you are serious about quality work in this field you need plenty of hard drive space. Hard drives are ridicuously cheap these days - I can buy an uncased 2TB drive for about $80, or a USB 3 2TB for $95ish.
Quicktime Animation, Quicktime PNG and Uncompressed are common intermediate formats. Apple users also commonly use Pro Res formats, and the Apple Intermediate Codec.

Can Canon 5D Mark II footage be edited in FCE at 1080p?

Can Canon 5D Mark II footage be edited and outputted in FCE at 1080p?
I am converting the raw 5D footage to Apple intermediate Codec using MPEG Stream Clip and then importing into FCE. Playback during editing is fine. Then I notice that in the easy set up options there doesn't seem to be an option to choose 1080p. Does that mean that FCE cannot edit/output 1080p files, or does it just mean that there is no easy setup for 1080p? What should my easy setup settings be for editing these files in FCE?
Thanks for your help

I converted to apple intermediate codec using MPEG streamclip to make it easier to edit in imovie (plays back smoother) so assumed it was best to do the same with FCE. Not necessary?
The converted file data is
H.264, 1920x1080, AIC, 16 bit, big endian, FPS30, 64.62 mb/s
The original file data is
H.264, 1920x1080, 16 bit, little endian, FPS30, 39.77 mb/s
Thanks

Shooting 24P Need final output to be XDCAM 1440x1080i60

I will be cutting spots shot at 24P and some variable High Speed frame rate footage. My final output needs to be 1440x1080i XDCAM format. What is the best sequence settings to work with? Does the footage need to be converted before cutting or should I cut to the native forma shot and conform it after finals are approved?

If it's shot at 24p without pulldown (what's your original format?) then cut at 24p and add pulldown to the final masters. I don't know if there's any way to add pulldown to a file using FCS. I always use AE or output to tape. Conforming 24p to 60i using Cinema Tools is definitely not what you want to do.

Compressor Saying Progressive on Upper Field Order Footage?

Hi all,
I have Upper field order 10Bit Uncompressed PAL footage in a proper timeline.
When I export it (not self contained) and open it in QuickTime or FCP, all is well.
So is it odd that when I add the file to Compressor and select it, in the Inspector the Field Order is set to Progressive? It is a drop down menu so I can select Upper, but then it asks me to save it which I chose not to do. If I add an MPEG-2 preset to it, it "auto" detects the file and says Progressive.
What's the deal? Should I simply modify the MPEG-2 preset drop down menu to Upper before I submit the batch?
Thanks,
Jason
G5 Quad 2.5Ghz, 30" Cinema HD Display, Final Cut Studio, CS2 Suite Mac OS X (10.4.9) Powerbooks, other Powermacs, iBooks, iMacs, etc...

OK, here you are,
Original footage :
Original Footage Interpretation:
Render Settings :
Output Module Settings :
Format Options :
Re-imported Footage :
Interpretation of re-imported footage :
The End and Thanks~~

Getting 24P raw footage from PP ro ENcore

Could someone outline an inter-application rundown between PREMIERE PRO and ENCORE of procedures and settings that make the most of 24P raw footage in editing and output.
This would include navigating extremely confusing respective frame rates of 23.97, 24, 29.97 and 30 all of which we have to choose again in outboard processing input and output (eg.in AFTER EFFECTS), then again in compression, and finally in setting up an ENCORE project.
Dealing with the interlace (which in theory you shouldnt have), and the numerous sidebar choices along the way the add to the mystery. Being consistent is not as easy as it sounds. Between what you start out with and what you end up with is a minefield where common sense does not always come out on top.
The end goal is a compression without apparent field issues that ENCORE can use to deliver an optimal Blu-ray.

The first preset has been selected.
Okay; but that is why I want to see the project panel. You can "select" a preset in the edit panel, but not "select" it as the actual transcode setting.
The Transcode Settings panel, not the Edit Quality Presets panel, is where you actually set the preset to be used.

DV NTSC 720x480 outputs at 655x480

I create a standard NTSC DV 720x480 (3:2) timeline with a pixel aspect ratio of NTSC - CCIR 601 using 720 x 480 footage but when I output using current setting, the exported file is 655x480.
I have tried QT conversion, changing the file size to the desired 720x480 to no affect.
I've even tried on other machines with the same result.
I've never encountered this problem before so I'm stuck with of course a deadline. Any help would be greatly appreciated.
I am running FCP 7.0.2 on a 2 x2.26 Ghz Quad-Core Xeon running 10.6.2
Thanks.

You don't want it to match 720x480 when displayed on a computer screen. 720x480 is not 4:3. Your image is supposed to be 4:3. Do the math. 640x480 is 4:3. That's what you're seeing in movie inspector 720x480 (640x480). The other number is display size based on how big your display is. If the first line of numbers are correct, and they are, there is nothing wrong with your image. QT7 I believe still displays the image differently from QT X, but the image is the same, digital video 720x480.

FCP-DVDSP sequence PAL footage transcoding

hello,
I write asking of help in order to
(a) make a proper transcoding workflow and sequence to edit MPG footage with FCP
(b) output and convert for DVDSP.
I dont know FCP compression and settings so well, and i think i made some mistakes...
I use mac 10.5.8 Leopard on POWERpc with FCPStudio 7 (in the past i was using FCS5).
I need to shrink 2 videos 50min duration each (100min total), in order to fit on DVDSP.
I get a disc meter error my footage is 5.8 GB and exceeded space limit.
this is the 2/2 DVD (1rst is burned ok- it is alsmost full).
My files m2v are about 1.6GB each and inside DVDSP seem that
occupy 2.5GB each (rendered ?)ps for SD.
I recently received some mpg files from a sony hdd camcorder Dsr Sr58.
It has split scenes saved as MPG files which i transcoded to various formats
and tried to import them in a prores444 sequence in FCP to edit.
footage is handheld and has shaky parts too for most of the time.
this does not seem to be an HD camcorder, and i assume, despite the fact
it has a 1:9 LCD records 4:3 and 16:9 anamorphic. I have attached an image
of the folder names i get when i plug the camera via usb on my mac.
I cannot also understand, what is the frame rate recorded by this camera.
i believe it is INTERLACED 25fps. I see evident lines on my mac @ playback.
I need to burn PAL SD DVD (50fps) at the end.
When i open a file in MPEG streamclip, shows 1024x576 frame size unscaled.
However, when i open it in QT shows 720x404.
I firstly used MPEG streamclip and exported to QT making 2 versions
(a) Photo JPG compressor codec @ 80 quality
(b) Prores444 @ 70 Quality.
I did not Deinterlaced in the transcoding stage at all.
I then opened (a) in FCP and i saw i needed to render all clips inc audio
I exported to mov but files are huge and when i make m2v files are 2GB each.
i tried (b) and saw i needed to render the clips again. The m2v files are about 2.2GB each
and there is NO way to bring the quality slider down in FC sequence settings. Seems locked to 100%.
So... I abandoned temporarily and ask for any help here.
Can anyone suggest me a procedure, on
(a) Make a proper project sequence that wont need
render the files each time i import them from transcoding
(b) Suggest how to use compressor and the variable bit rate setting to decrease size further ?
thanks

hm... thanks for sugesting JES. it seems when i feed this movie file in JES and choose deinterlace, the program crashes when file gets about 100%.
yesterday i tried to burn the interlaced footage on DVDsp deleting clip1 to be able to burn it.
I made the m2v file using compressor and set BIT RATE to 3,7mbps average. max rate=6.4mbps
Motion estimation= good, and mode= one pass vbr best. i imported them in DVDSP...
burn was ok. i played the dvd on 2 different dvd players (no pc/mac), on PAL TV.
the first played image ok. i mean stady shots appeared clean with tiny interlaced lines sometimes.
The shots that had camera shake and fast PAN (amateur video) showed flickering on TV and during pan
they were leaving a semi-transparent trail behind peope. like a ghost shadow.
The second one, played a more smooth version of steady images without showing the interlaced lines. however, same shadows appeared when fast pan occured, with slow prosumer camera speeds i believe.
JES does not work for a reason on PPC DC 2ghz or i make wrong settings....
I tried deinterlacing (progressive) with MPEGstreamclip, and worked ok. the
Now, my question is.... if i make m2v files again, same bit rate, burn in DVDSP, will the dvd player, play them ok on PAL tv (which uses interlaced lines to display the image) ?

Changing "2 Outputs" to "1 Stereo" To Match Sequence and Clips

I'm using Final Cut Pro 6.0.4 on a Macbook Pro. I initially posted this question on the wrong forum I think (Final Cut Pro X) but can't figure out how to just move it here, so I am posting it here.
My footage is:
1440x810, 29.7 fps, MPEG-4 Video Compressor, 44.1 KHz aud rate, 32-bit floating point.
The audio is set at "1 stereo."
My sequence is:
1440x810, 29.7 fps, MPEG-4 Video Compressor, 44.1 KHz aud rate, 32-bit floating point.
The audio is set at "2 outputs."
When I drop footage into the sequence, it says the audio needs to be rendered. The only thing that doesn't match between the sequence and the footage is the Audio Outputs. I did select to have my sequence match clip settings when prompted. I've looked through sequence settings and nothing changed it, and I cannot for the life of me figure out how to change "2 outputs" to "1 stereo" (or vice versa) without having to re-compress all the footage and then re-import it.
I also tried the "Match Audio Outputs" command, but nothing changed when I did that either.
I have this problem every time I edit and usually just resort to re-compressing the footage, but that can take days and I'd like to avoid that.
Am I missing something?

I didn't record the footage, I'm just the editor. I can ask Julie & Brandy (the people in the video) what camera they used if that's important, though? They sent it to me as mov files on a disc.
These are the clip properties (is this visible? it looks so small in my window but the screenshot i took is way larger, hopefully it will expand)
These are the sequence properties:
Also, even though it says 16-bit there, it says 32-bit on the browser:

How can I set FCPX to import my footage as Pro Res 422?

I am having difficulty getting nice clean chroma keys due to the fact that all my footage is being imported with the H.264 codecs. I have the project properties to render as Pro Res 422, but that as I understand it, will only change my footage for the final output.
I tried to find a place in the Properties->Import to see if I can tell FCPX 10.0.8 to import the footage at a higher quality so that the keyeing effect creates better masks. Where can I set FCPX to import my footage as ProRes 422?
I would greatly appreciate anyone's input as I have been trying to figure it out and am at a complete loss at this point.
Thank you so much in advance for your help!
~Heather
PS:
Here is where it says my footage is H.264 - where can I change this?

I do always check the optimize media box, but still have a hard time smoothing out jagged edges on greenscreen footage. I assumed it was because the keyer was being applied to H.264 footage instead of ProRes 422 footage.
Which codecs is the effect being applied to if I drag it onto the clip in my timeline? I am doing playback with optimized media if that makes a difference. It is quite possible I confused myself.
Thanks for your help, Tom!

Uprezzing SD to HD, make output upper field dominant?

Ok, so I'm uprezzing a SD short film originally shot on DV, interlaced, to HD for a film festival. After the uprez, the resulting file will go onto an HDCAM tape for broadcast at the fest. I want to keep the interlacing as the crappy video look is part of the story.
So, that being said, I hear all HD is upper field dominant, while my clip settings and and sequence in FCP for the original SD movie are lower field dominant. In compressor, do I want to change the settings so the output file is upper field dominant since it will be HD, or leave it as is to match the source material (lower field)? Furthermore, there are two places to set field dominance in compressor, one under the encoder tab, after pressing the "video settings" button (if interlaced is checked), and another under the frame controls tab. Do I set both to upper/lower field dominance, or is one telling it what the source footage looks like and the other is for the output file? Thanks.

OK, here you are,
Original footage :
Original Footage Interpretation:
Render Settings :
Output Module Settings :
Format Options :
Re-imported Footage :
Interpretation of re-imported footage :
The End and Thanks~~

4:3 footage to 16:9 output

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