Bringing anamorphic footage into a 4:3 Motion project

I'm sure this is an easy fix but I haven't really had a day off in weeks so I'm a little fried. I have DV Cam footage that was shot anamorphically. When placed in a 16:9 sequence in FCP with the anamorphic box checked in the item settings everything is fine. I have to incorporate this footage into a 4:3 Motion project that I already created. When I bring it into Motion, it is squeezed to fit the 4:3 aspect ratio. How do I make the footage 16:9 in Motion?

Open up the inspector for the media, there is a drop down menu in there.
or you could just drag the x dimension out to 133%
Peter
MacPro 3G 6G RAM FCP6 M3 FxF1.06 Mac OS X (10.4.9) XSR Decklink & loads of cool new plugins, Gaggia TD auto

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What do broadcasters use to bring live footage into/through PrPro?

In another thread, the question of how to import "live" shooting from a vid-cam came up, and the standard answer is ... only by firewire will PrPro capture directly off a video camera.
But ... I know it's used in work where broadcasters in real-time bring live footage into PrPro, apply effects, and output ... so, what sort of connections does that process use?
neil

Standard method is to use an EVS XS or XT hard disc recorder to capture and EVS software to transfer that media to shared editing storage if you need instant access. This is typically as MXF for avid or as QuickTime reference files pointing at the growing media for FCP. I think with PPro it can be either.
PPro also has a neat extension 'IPLink' that can browse the EVS media direct.
The EVS route is not cheap however but it is reliably used all over the world. Alternative solutions are available using Quantel, DVS Venice, Avid Airspeeds, Sienna PictureReady, BBC Ingex etc...
Editing the Tour de France on Final Cut Pro X - details another solution that could work for PPro.

Reposting this - bringing dvd footage into FCP - progressive scan

I occasionally have clients that need me to bring footage into their projects from a dvd or vhs. I'm looking into getting something that can do both NTSC & PAL and I've come across this product:
Sharp DV-NC80
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Bringing dvd footage into FCP - progressive scan

I occasionally have clients that need me to bring footage into their projects from a dvd or vhs. I'm looking into getting something that can do both NTSC & PAL and I've come across this product:
Sharp DV-NC80
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Unless you are bringing the material in via a capture card, you can't take advantage of the 480p scanrate anyway...
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Question about bringing Hi8 movies into FCE

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I read that I would require a TBC device. I am not familiar with this device, or what it does, or how it works.
http://store.apple.com/us/product/TJ555LL/A
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If yours is a digital-8 camera, you can capture from the camera. If it's not, then you can't; the footage must be digitized by some device between your camera and your Mac. (If you have a dv camera, you could connect 8mm cam to dv cam, dub to dv, then capture from dv cam directly.) In any event, one hour of dv footage is about 13GB.
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Ingesting xa20 slow motion footage into final cut 7 or premiere

does canon have step-by-step instructions for ingesting xa20 slow motion footage into final cut 7 or premiere?

Hi davidframe!
Thanks for posting.
Not having made those applications themselves, Canon does not have step-by-step instructions for bringing slow motion footage into Final Cut Pro or Premiere. However, I am sure either Apple or Adobe have some helpful instructions they can provide if you contact them directly.
Did this answer your question? Please click the Accept as Solution button so that others may find the answer as well.

Bringing Premiere ultra keyed footage into after effects with key intact

It there a way to bring in footage I keyed using Premiere ultra into After effects? I much prefer the ultra keyer over anything native to After Effects CS5.5. If not, how do I export and keep intact the aplha channels from the keyed footage into after effects? Thirdly, if I have to, how do I remiove the black background I get as a result of a default quick time movie file?

You can not export a clip with alpha from PPRO.
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FCP opening anamorphic motion project files as 4:3

I have a 720x480 anamorphic motion template which I need to place in a 720x480 anamorphic FCP sequence. FCP is automatically distorting the template, when I open it in the viewer (prior to dropping it into the timeline). It looks 4:3.
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Anyone know a way to correct this in FCP?

Ok, but for my workflow, I need to use motion templates, not project files. There is no way to correct this in the browser for a template. I need it to just come in 16:9.
If I want SD footage in a 16:9 format (pillarboxed) what size do I make the sequence? Should it be some custom size that is not anamorphic, yet still much wider than tall?
I need to standardize all my sequences (whether they are 16:9 footage or not), so that I can use one set of motion templates, which will be 16:9. Should the motion templates then be created in this same custom size?

Mix 60i(29.97)avchd footage into Dslr 23.976 timeline

I'm using CS6. My project presets are for a DSLR at 23.976 (canon t3i). I also have a canon hf-M41. It does NOT record at 24p native, rather it records at 60i and then is transformed to 29.97 to supposedly look like 24p. Everything is exported as 29.97 from the M41 regardless of the in camera settings. When I put the M41 footage into my timeline it runs like it is in slow motion (even upon rendering). My question is how do I keep my project settings at 23.976 DSLR (because I have 2 t3i's for my main cameras) and make my M-41 footage run smoothly and be able to combine the two? From my own testing it looks like the best match upon bringing it into the DSLR timeline is setting the M41 to record at the 29.97 in camera. (probably because Premiere already naturally sees it as 29.97). I have been playing with the Adobe Media Encoder but my results have produced the same results as when I change the footage within Premiere. I am totallyM new at this and have probably opened up the Media Encoder only 4 times!(completely lost) I'm lost trying to figure out how to mix these two formats in Premiere. The T3i footage is .MOV and the M41 is .MTS (avchd). Any help or suggestions would be very much appreciated. I want to be able to use all three cameras for mulitcam editing but as I have told you they run "funky" together haha Thanks a lot!!- Mark

You can upconvert using Compressor. It would be BEST to have the tapes dubbed and upconverted with the use of a Terranex...or captured with a Kona 3 that can do the upconvert on the fly and still look good. But sans (without) a capture card, the best way is with Compressor. Danny_Boy and I had to mix MANY formats for a History Channel doc we did. Now we used the Terranex, but in my testing on what to go with, I found that Compressor did a decent job...it just took a LONG TIME.
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NOw...shoot. You have to crop this image in order to make the 4:3 fit into a 16:9 frame...and I lost my tutorial on what numbers to put in there.
I have Droplets for Compressor 2 (FCS1) that do this for you...iffin you are interested.
http://homepage.mac.com/comeback/professional/FileSharing37.html
Shane

I have DVD's that I made from iMovie. I would like to know a way I can bring them back into a file that I can somehow transfer to my iPad, so I can show movies on it, the iPad.

I have DVD's that I made from iMovie. I would like to know a way I can bring them back into a file that I can somehow transfer to my iPad, so I can show movies on it, the iPad.

Pad2, the new iPad Supported Video Formats & Movie Formats
H.264 video up to 1080p, 30 frames per second, High Profile level 4.1 with AAC-LC audio up to 160 Kbps, 48kHz, stereo audio in .m4v, .mp4, and .mov file formats;
MPEG-4 video up to 2.5 Mbps, 640 by 480 pixels, 30 frames per second, Simple Profile with AAC-LC audio up to 160 Kbps per channel, 48kHz, stereo audio in .m4v, .mp4, and .mov file formats;
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 Cheers, Tom

What is the best workflow procedure for importing DV SP 16x9 footage into FCP7 and then exporting the best quality 16x9 to standard DVD so that it looks great (or at least good) on a 50" Samsung LCD TV ?????? Please help! anybody?? Thanks!

We are using a Sony HDV-Z7U camera for acquisition. We recently recorded an event using the camera's non HD capabilities. We set the camera to record "DV SP" 16x9 settings on both Mini-DV tape and CF card.
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> Why so big? An 83 miniDV tape shot in SD should easily fit on a standard 4.7 gig MPEG2 DVD.
No it doesn't. DV is 13GB per hour.
In any case, a Video DVD uses the MPEG 2 codec, not DV.
>What is the best setting to use in FCP7's log and transfer settings window to import DV SP 16x9 standard def.
DV NTSC anamorphic.
>what is the best method for exporting for outputting this footage to DVD...
Use the Compressor DVD preset "Best Quality 90 mins".
>...that preserves the original quality of the DV SP footage?
Not going to happen, you are compressing by a factor of 1:4. Shooting as HDV would have given you better quality material to start with. DV is at the bottom end of the scale.

"File Not Supported" Message when importing AVCHD footage into Premiere on Mac

Hi,
What I am using:
Camera: Sony FS100
Media Codec: AVCHD
Computer: iMac running OSX 10.8.2
Premiere CS6
I have a quirky issue I have been trying to figure out. I just bought a Sony FS100 camera which records footage in the AVCHD format. When I import the "private" folder the camera creates into Premiere, it brings the footage in but always give me this error message: "File format not supported" along with a list of every clip on the card. The thing is, despite the warning, Premiere brings in each clip fine into browser window. I can preview the clips, edit them and export them out of the timeline with no problems that I have seen. Additionally, if I go back to the "File" dropdown and select "Import Recent File", I can select any of the the files individually again and NOT get the error message when I bring in the clips. I have imported from the Private folder amd the AVCHD quicktime inside the Private folder and, when I do, I get the above mentioned error. But if I import any of the .mts folders that Premiere can see inside the AVCHD folder (each .mts folder seems to represent each indvidual clip), they come in perfect without the error message. Additionally, if I locate the folder through the media browser, it brings the clips in without the error message. I can then drag these clips into the Project window like I have been trying to do eith the "import" function. So should I not be using the "Import" function with these files? I want to because that is what I did with FCP? Any help would be much appreciated!

The PRIVATE folder contains far more than just the media. Those additional files are what's generated the message.
The proper method here is to use the Media Browser for importing.

Importing DVC PRO 50 footage into Premiere Pro

I recently imported some DVC PRO 50 footage into Premiere Pro. I used a rented DVC PRO 50 deck via firewire 400. The footage came in at 480 x 720. Is this the actual resolution of that format or is it the default setting in the Premiere Pro import module? A few months ago, I imported some HD footage from a tape format using the videographer's camera via Firewire. It also came in at 720 even though it was supposed to be 1080 footage. Is there a way to set a target resolution in the PP import module before importing? Or does it bring in whatever resolution the source has?

DVCPRO50 is standard definition footage at 50Mbps. So 720x480 is correct.

Exporting anamorphic footage to letterboxed 4x3

so, im having quite a few problems here and have been searching around the discussions for a while and cant seem to find any answer. If this has been answered and im just too tired to find it im sorry. anyway, it goes a little something like this...
so i've shot a bunch of stuff in squeeze mode using a dvx100b. brought that footy into fcp and edited everything in an anamorphic timeline (set up using the easy setup) and everything is looking pretty good. now comes the strange part.
im finished and ready to export (going for 16x9), so i go to file--> export--> quicktime movie. leaving it on current settings, i get a 4x3 version all squished up. so i try again, this time, setting the in and out points so im only exporting 5 seconds of the project (because im not waiting around if its not going to work again).
viola! it works, looks great, anamorphic, 16x9.
now i reset the in and out points, export the entire thing, and low and behold, im back to that squished 4x3.
so i guess, my final goal is to have 16x9 letterboxed in 4x3. i've been exporting first to 16x9, then usng quicktime to letterbox it.
so really i have been going through 2 steps to get this to work and there has to be an easier way. i just get squished or stretched all the time. hope someone has an idea or can point me in the right direction...
all software is updated to the most recent versions...
thanks everybody

so i guess, my final goal is to have 16x9 letterboxed in 4x3. i've been exporting first to 16x9, then usng quicktime to letterbox it.
This is an inefficient way to go about things.
Create a new sequence using the easy preset for 4:3 DV.
Drop your 16:9 anamorphic sequence into it.
Load the sequence into the viewer, then select the MOTION tab.
Set Distort to 1.33 (or something like that)
Export using Current Settings.
You will have a letter boxed version.
Good luck.
x

Importing into Final Cut from Motion

Hey All,
When I'm done creating title pages etc. in Motion, I export a .mov (using the DV/DVC PRO NTSC setting)file to a folder. I then import the file into Final Cut and add it to my sequence etc.
However, I have noticed that after I import it into Final cut, the colors are flat and the graphics look compressed.
Am I doing something wrong?
Using Final Cut Studio 5.1.4
G5
OS 10.4.9
4.5 Gb
Thanks!

It's true. DV/NTSC isn't very nice to graphics and titles. They're always going to look sharper in Motion. If your final delivery format is DV/DVC PRO, there's no way to avoid that, but it might help to reduce the amount of compression used overall (because you're going to be compressing them again on final export).
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(Doing what Adam mentioned will work too, and is probably easier. But it's good to know about the Animation codec as well).

Bringing anamorphic footage into a 4:3 Motion project

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