Anamorphic to Standard
I inadvertently built a FCP 5 sequence, with the sequence settings in 16x9 anamorphic. When I changed the sequence settings to eliminate the anamorphic setting all my video was squeezed inward vertically.
All the initiall video was shot and captured in a 4x3 ratio.
I have already tried to copy and paste the existing sequence into a new sequence with the correct settings, but I still get all my video squeezed vertically.
Does anyone know a way to convert the video in this sequence back to its normal 4x3 ratio? I'm already building a new sequence one shot at a time, but if there's a quick way it would sure help.
Thanks
copy all of your clips from the anamorphic timeline..
create a new sequence with the correct aspect ratio...
Paste clips from anamorphic sequence into correct sequence....
with all clips selected right click (option click) select remove attributes and make sure distort is checked....
hope this helps ya out
sz
Similar Messages
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Exporting Standard DV back to DV Tape & Projecting DV Questions....
My indie movie is finally finished, and I was wondering if anyone out there could give me some information on the next step.
Question #1
What is the best way to export this movie for large screen theater projection? The movie is Anamorphic 16x9 Standard DV. I was told by one person to export back to a 3 hour DV Tape, and attach the a DV deck to the projector for showing. Is this really the best way? Do people have problems with audio sync when exporting back to tape. I always have audio sync problems when I capture tapes to hardrive. I have to re-capture things all the time, and sometimes I have to capture piece by piece.
Question #2
Do projectors actually stretch the image (pixels)? How exactly does a projector make the image so large. My real question is "what is my standard DV footage going to look like projected on a big screen, and about how big can I go?
Thanks in advance to anyone who can help! These forums have been so good to me over the years.
FrankieFirst, congratulations on completing your film!
Now about your post:
I would make a print to tape.
The first thing I would do is make a special version of the timeline just to generate the tape that you will be projecting. I would include some extra graphics (your logo?) and music at the head, so that when the tape rolls at your presentation, you have visual and audible conformation that everything is connected right, nobody pulled a cable by mistake, the projector is working and showing an image and the sound is up and playing to the house prior to the commencement of your actual movie.
If you roll the tape and don't see or hear that extra material you put on the head of the reel, it will give you a chance to stop, see what is wrong (the sound guy forgot to bring the volume up for example) and the re-roll all prior to the start of your movie. Re-cueing and playing the graphics again is only slightly embarrassing, missing the first 50 seconds of sound on your film as run madly through the theatre is much, much worse.
You will have to output to a tape and verify sync to make sure you don't have audio sync problems. MAKE SURE YOU USE "PRINT TO VIDEO" which is File>Print To Video, or control-M. Do not just play the timeline and record the output. Using Print to Video locks the system down to one task - outputting every frame correctly. I don't think I have ever had an audio sync problem Printing to Video, but I don't use your system - so I would carefully spot check the tape, possibly watching the whole thing. If everything is OK on that tape, I would output a second copy of the movie just to have as protection in case something goes wrong with the first tape. And carry that backup copy with me to the show.
In answer to your second question, the only real answer I can give you is that you need to go to the venue and test run the projection and make the call as to how large you can go/are comfortable with. The projectors they use now in large venues are amazing in quality. I did a project for a charity that was projected and the quality was jaw dropping. Just remember - the laws of physics mean: for any given projector, the larger the image, the dimmer the image will be. Myself, I would rather have a smaller, brighter image, than a larger dim one. But this is your call. You really need to do a test projection.
(If you are interested, here is a basic rule of thumb, taught to me by a film DP a long time ago: go into a theatre, go to the middle of the theater; and then one or two rows back from there, if you hold a standard piece of folder paper, 8.5" x11" vertically at arms length, the paper should just cover the screen top to bottom. The width of the screen will then be determined by the aspect ratio of your film. If this applies today, I don't know, but it was also told to me by a film sound mixer as the method to use to find the right distance from the screen to be in the sweet spot for surround sound mixes.)
The other major reason for doing the test projection is to hear what your movie sounds like when played in a large venue. There is a reason film sound mixers make the large dollars, and have mixing suites that resemble theaters. Mixing sound for large venue presentation is an art and science unto itself. The mix that you have been working on in your edit bay is going to sound completely different when played at full volume in a theatre, you must hear it once and give guidance to whoever is controlling the sound as to what it is supposed to sound like. Also, it is likely you will be doing your test projection when the venue is empty, add the crowd and they will instantly suck the volume down like a sponge. Experienced sound engineers know that one the crowd fills the theatre, they need to raise the volume higher than at the rehearsals. Again, having the little extra bit of sound that we added to the head of the tape will help verify that we are loud enough so the audience will hear your film right from its start.
Good luck! -
Use of 'Widescreen' filter problem
I like to use the 'widescreen' filter occasionaly on certain sequences i.e. it puts a black bar top and bottom of the screen and gives a cinematic type effect.
When I play the DVD on my new widescreen TV, it plays normally for a few seconds, then the picture aspect ratio changes, and instead of a picture with black bands top and bottom, the picture expands to fills the screen. It's as if the TV has sensed the picture ratio has changed and alters the viewing aspect to compensate. (hard to explain hope you get the picture. I've tried cropping the picture to get the same effect but this doesn't work either. Any ideas?Hi(Bonjour)!
Adding a letter box filter on a standard def 4:3 sequence or cropping the clip don't make a true widescreen movie.
If you mix a such filtered clips and standard clips,the resulting movie is a standard def 4:3 with black bar on top and bottom on some portion. The DVD player will not "see" a letterbox format and adjust itself to fit the screen, but a 4:3 one.
To get a true widescreen DVD, you have to start a widescreen project in iDVD and import anamorphic movies (standard def 4:3 780X480 with anamorphic pixel that will spread over the 16:9 format). Search this forum with "anamorphic, widescreen, DVD, anamorphizer" keywords.
Michel Boissonneault -
What are the standard dimensions for the movie trailers apple puts up? I want to export a 4:3 video with the letterbox bars cut off.
720x390??
ThanksHey Ryan,
where did you get your footage from? you say that you edited in 720x480, but all that tells me is that you edited in NTSC DV
you say you want to fake letterbox, so you want to cut the top and bottom portion of the video or even squash your whole frame to get mattes?
this is an important question:
do you have a 4:3 (1.33) Full Frame video? do you have a 4:3 (1.78) letterboxed frame video (that already have mattes)? do you have a 4:3 (2.35) letterboxed frame video? is your video anamorphic, or standard (i am guessing standard)?
anyway, see, it can get really intense.
but i am thinking you want the whole standard spectrum. remember, these resolution sizes are for a video files that have the mattes cropped (more for web).
4:3 (1.33 FF) = 720x480 (whole image displayed)
4:3 (1.78 LB) = 720x365
4:3 (1.85 LB) = 720x350
4:3 (2.35 LB) = 720x280
these number are NOT exact, they are very close though, since it is dependant on how they are matted.
Mikey m. -
What can I say. We blew the shoot. His high-end Sony camera - std def at 4:3 aspect ratio.
My camera - the little Panasonic DVX100, set to anamorphic, so 16:9 aspect ratio.
I have to edit this footage together in the same sequence. Obviously, I'm getting prompts to change the sequence settings every time I try to move footage onto the timeline.
Alternatively, would someone just thunk me in the head.
I'm sad about this. I can't believe it happened.What is the ouput - standard 4:3 DV?
If so, put a clip of the 4:3 material into a timeline and accept the offer to conform the timeline to that material. Then, any of the 16:9 material will be part of that settings - however - you will want to go into the DISTORT settings in the Viewer to alter the material so that the image extends beyond the sides (aka a center cut). It has been a long time since I've done this but I remember the number is something like 33 (or -33).
x -
Preserving Standard Definition Anamorphic Settings in iDVD
I shot two simple, pockets-up static interviews with a Sony PD-150 set to record in anamorphic [16:9] v. standard definition [4:3].
Initially I had problems getting Final Cut Express 4.0 to recognize the PD-150. Then I couldn't import the video from the PD-150 to FCE 4.0 in any other format except 4:3... which made the footage look like I'd interviewed a couple of cone-heads.
So I loaded Final Cut Express 1.0 on the Macbook Pro. The software regognized the PD-150 right away, and I was able import the video into FCE 1.0 in anamorphic format...
But now I can't get iDVD to import the edited video in anything but the cursed 4:3 format, and I'm back to a product that really, really doesn't look right.
Help?This approach might work .... Take a look here if you haven't already:
http://discussions.apple.com/thread.jspa?messageID=7082258�
http://imovie08.blogspot.com/2007/08/how-to-add-chapter-markers.html
http://support.apple.com/kb/TA40250?viewlocale=en_US
if not, just come on back. Good luck!
Message was edited by: SDMacuser -
Uncompressed 8-bit standard def with anamorphic?
I read somewhere about using a sequence with uncompressed 8-bit standard def with anamorphic as an option for downcoverting from hdv. I'm using fcp5 and don't see that as an option - just uncompressed 8-bit without anamorphic.
Any solutions will be greatly appreciated.Easiest way to get there (I think) is to copy the NTSC (or PAL) DV preset, then change the codec to uncompressed 8-bit. The anamorphic will be set and you'll be properly at 480 lines instead of 486.
That I think answers your question.
But you will then be faced with a sequence which requires rendering before viewing, and after most edits. Which is a lot of work in HDV.
Consider instead converting the media itself using Compressor. Don't let the name fool you - it can also save out as uncompressed. You can take an NTSC DV preset there as well, and edit it to be uncompressed 8-bit. -
P2 standard def and Anamorphic Override
Hi,
Since 10.0.6 you can now work with P2 standard def anamorphic 16:9 footage in fcpx. Before that there was no way to tell fcpx that you where working with 16:9 footage and it would always show as 4:3. Now we have the Anamorphic override in the clip settings view.
But one issue I have with this is that it still shows the clips as 4:3 when I watch the clip from the Event Library. As soon as I insert the clip in a timeline it obeys the anamorphic override setting and displays correctly.
Am I doing something wrong?
This is not a huge issue, but rather annoying to have to look at all the clips with the wrong aspect ratio in the event library...
Thanks!I don't have any files imported in fcpx from tape. The other DV MOV files I have tested(that works as they should) are either exported from Avid or from some unknown encoder at my tv network.
The only difference I can see in the QT inspector is that the MOV generated from the P2 MXF has format: 'dvcp' and the other files have format: DV - PAL. Both report 720x576 which is correct.
'dvcp' seems to be some kind of Apple DV according to this document.
I just don't see any other explanation to why these files obey the anamorphic override(widescreen or 4:3) in the timeline and not in the event library...
I can upload some examples of you would like to try it out. -
I just received the masters for a new SD DVD. I would like to author a "widescreen anamorphic" SD DVD horizontally squeezed widescreen image stored in a standard 4:3 aspect ratio DVD image frame. (On 4:3 displays, mattes should preserve the original aspect ratio. On 16:9 displays the image will fill the screen at the highest possible resolution.)
Below I've listed the specs of the Digi Beta master tapes the producers have sent to me for digitizing. I'd like to know this: What are the ideal specs for a DigiBeta master tape when authoring a widescreen anamorphic SD DVD, using material with an original aspect ratio of 14:9?
I've also listed my guesses below. Please let me know if my guesses are right. If not, please suggest alternatives (and if possible explain why.)
TECHNICAL SPECIFICATIONS OF EXISTING MASTER:
Tape: DigiBeta
Original Aspect Ratio: 1.55 (14:9)
Vid Rate: 29.97 fps
Pixel Aspect: NTSC - CCIR 601
Frame Size: 720 x 480
Anamorphic: Full-Height Anamorphic (16:9 image displayed in letterboxed, non-distored 4:3)
Display Format: 4:3 Letterbox
MY GUESS AT IDEAL TECHNICAL SPECIFICATIONS (for a DigiBeta, that is):
Tape: DigiBeta
Original Aspect Ratio: 1.55 (14:9)
Vid Rate: 29.97 fps
Pixel Aspect: Square
Frame Size: 720 x 540
Anamorphic: YES
Display Format: 16:9 Anamorphic (horizontally squeezed widescreen image)
Please feel free to ask for clarification or further information you need to answer my question.
Thank you so much in advance for your help!
Best, Noetical.
BTW, I can't wait for the day when everything has gone digital and we get digital intermediates instead of tapes to digitize!Hi Nick...thanks for taking the time to reply to my question.
Nick Holmes wrote:
What you have there is a mess.
NTSC pixels are never square.
NTSC is 720x486, even when it is Anamorphic.
You shouldn't be using an already letterboxed master to make an Anamorphic version. Get the master that was made before the letterboxing stage.
When you make an Anamorphic DVD it should display as 16:9 full screen automatically on widescreen TVs.
The same DVD will automatically letterbox on 4:3 TVs.
Um yeah...duh. That's exactly what I was trying to explain in the preface of my question. I'm sorry if I didn't make it clear...all these things you mention are the reasons I'm putting together a list of the technical specs of the DigiBeta I need so I can have them send that instead of the stupid letterboxed version.
Look, I'm sending this request to some intern at their offices in England, asking for a master with which I can make an Anamorphic DVD. They already sent me this master, which as you and I both agree is an idiotic asset to use for these purposes. As such, I was hoping for advice on a more precise way of requesting the master that I need than asking for "the master that was made before the letterboxing stage." Upon reflection, perhaps I'll just do that. If you or anyone else has a suggestion about something I should add to my request that would improve the odds of them sending the tape I need, please repond. Thank you!
BTW, It's been a long time since anyone has responded to something I've written or said as though I'm an idiot. I remember now that I don't really like it. (Moving along...) -
IDVD, playing my 16:9 (non anamorphic) movie as a squashed 4:3?
I exported a movie from FCP using quicktime conversion with an aspect ratio of 16:9 (1024 x 576). It is not anamorphic.
When i make a DVD using iDVD widescreen 16:9 [or 4:3] is squashes the film into an anamorphic image. Kinda weird because if it was anamorphic to begin with then it would make the image even more skinny. I went to the 'help' tab and it told me to do exactly what i had already done (i.e "select 1024 x 576 when exporting from FCP").
Please help...! I got a deadline fast approaching and i am sure this is simple for someone out there.Did you follow these instructions completely? iDVD: DV widescreen 16:9 workflow from Final Cut Pro at http://support.apple.com/kb/TS2179
Of course, the actual content put on a DVD is anamorphically squeezed to fit on a standard definition disc. The content SHOULD be un-squeezed on playback. -
Correct workflow for HDV to anamorphic SD DVD?
My current workflow amounts to building HD videos in Final Cut Express 4 (FCE), exporting HD MOV files for use in Encore CS3 to create standard DVDs.
To be clear (correct my verbiage if I'm wrong) when I say HD this is what I'm working with:
1920 x 1080
Interlaced
29.97 fps
Originally, before I got an HDTV, I would simply drop the finished HD timeline into an SD timeline in FCE, and create the DVD using these movie files. On a typical CRT 4:3 television, this actually works okay. But once I got my HDTV and watched how the 4:3 picture was simply placed in the middle of the screen, I realized I was doing this the wrong way.
Ultimately, I want to create the DVD so the video adjusts to the width of the screen, where the black bars you see aren't actually embedded in the video itself. Is this called an "anamorphic" DVD?
I've done my best to do this on my own, but any movement in the final videos on the DVDs contain horrible jaggedness, as if you were watching interlaced video on a computer monitor, even if I'm watching it on a CRT 4:3 television.
Here is what I'm doing:
Export 1920x1080 MOV
Import MOV into Encore CS3 project
Transcode Settings:
Format: MPEG2-DVD
Pixel Aspect Ratio: Widescreen 16:9 (1.200)
When I'm in the transcode settings panel, in the output preview window, I can see the jaggedness and can't get rid of it by changing any settings. If I change the PAR selection to "Standard 4.3 (0.900)" it gets better, but again I don't think this is what I want to do.
Can anyone see the problem in my workflow? Should I be exporting something different from FCE?
Thanks in advance.Ann -- Thank you for the response. After digging a bit deeper into this forum, I found the HDV --> SD DVD Workflow? thread and it gave me this idea as well.
I created a project using "DV - NTSC > Widescreen 48 kHz" as the timeline preset. I was able to drag the final HD 1920x1080 MOV that I created in Final Cut Express onto that timeline. Then, I used the Adobe Media Encoder to export MPEG-2 files, which gave me many more options that the same step in Encore.
A while back, Apple removed the ability for Quicktime to export MPEG-2 files, for some reason, and I was never happy with that. I'm excited to see that Premiere Pro is able to do this, so I might start migrating over to Premiere Pro now. I just needed the right kick in the butt to get around to it, I guess.
I'd still like to hear any other suggestions, though. Thanks. -
Hello all
I work in standard def with the Sony DCR-SR80 (MPEG-2 format 16:9). I then convert in MPEG Streamclip. I use to export to DV format but more recently I'm exporting to "Apple DV/DVCPRO - NTSC" 720 x 480 (unscaled). My FCE Easy Set up is Format: DV/Panasonic DVCPRO Rate: 29.97 Use: DV-NTSC 32 khz Anamorphic. This is all nice because there really isn't any rendering going on. I film a lot of high school football so there is fast moving objects on the video.
My problem is that I create these projects and then burn them in iDVD and play them on my High Def Samsung TV (1080P) through my Blueray player (1080P) and the video has a jpeg look to it. I can make it better by adjusting my TV but I'm curious why it looks this way. Is it the camera? I nolonger have a tube television in the house so I can't compare. Any suggestions? whether a new camera or maybe new format and conversion settings. I tried to give as much detail as possible. I'm aware there are a lot of variables in there questions.
Thank you all in advance!!
WeenHi(Bonjour)!
That's normal as your base material is MPEG converted to DVCPRO. MPEG compression artifacts are transcoded to DVCPRO upon conversion with MPEG streamclip. MPEG format doesn't render rapid action like football very well.
Worst, you play a standard def DVD in a HD set. The image (and the MPEG artifact)is upscaled 6 times to fit the HD screen.
By the way you should choose a 48 khz audio preset as it's a standard in video edition.
Michel Boissonneault -
Wrong aspect ratio or size when exporting Pal anamorph with ProRes codec!
Hi community,
I have a problem exporting a spot in the right format. The customer/the upload service provider needs PAL anamorph 16:9 in ProRes codec.
When I export my FULLHD spot to these setting, the aspect ratio/the spot size turns out wrong. When opened in QT Pro the size is 720x576, what is correct, but the anamorph size quotet in brackets reads different values, for example 1020x576 but never 1024x576, what would be correct.
The service providers online software refuses to work with these wrong nunmbers...!?
The same export settings with QT Animation codec is correct. Also when exporting the same composition with two export modules, the Animation codec is OK, the ProRes codec is wrong. No matter whether I export a PAL-format comp or stretch it while exporting the FullHD comp.
Working with After Effects CC.
Any ideas?Don't resize the output but instead drop your full HD comp in a standard PAL widescreen comp, fit the HD comp horizontally and then render the new comp without using any resize controls.
Second option, Render your full HD comp to a frame based production master codec (prorez) and then use the Adobe Media Encoder and setup a PAL Widescreen Square Pixel preset. Here's my Pal Widescreen Prorez 422 HQ preset. It is what I use for all requests for Pal ProRez from my clients. -
Capture preset anamorphic - output aspect ratio wrong
My capture preset was dv pal anamorphic as the footage was taken on a widescreen camera. Footage looks fine in FCP6, but when I export a QT file, the aspect ratio is wrong. Why should this be and how do I correct it?
Hi Simon,
this is because Quicktime is showing the whole file, squashed.
What is your final destination? DVD? Web? Presentation? That will depend on how you will output the file. If you are planning to play it on an SD TV, go to your timeline and make sure you change the ratio to SD with a widescreen mask.
If you want widescreen to play correctly on a standard def tv, then you need to add the mask to it. If you are planning to put it on a SD tv with widescreen, the TV's aspect ration is changed to accomodate the file. So it is playing back correctly, it is the TV that will change. This is why dvds often have two different discs, one for SD and one for wide screen.
I hope this is helpful. -
Anamorphic in a 16:9 Timeline?
I have a short 16:9 720p project in which I'm dropping in a few standard def 16:9 Anamorphic components. What's the best procedure to unsqueeze the Anamorphic pieces?
The standard aspect distort is 133.33.
However, check and see that the ANAMORPHIC flag is set in the clip settings first. Might not need to do anything but scale it.
CaptM
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