FCP7 16:9, Sequence settings, output 4:3?

WHAT am I doing wrong here???
OS 10.6.8, FCP 7.0.3, iMovie 8.0.6
I have to import the video from my camera into iMovie, (because iMovie sees the video to import, FCP 7 does not), which creates a MPEG 2 video 16:9 (I believe) 720x480 video. If I play it from QT, it is 16:9.
I am banging my head against the wall trying to figure out how to get that 16:9 back out of FCP! Every time I export it from FCP, it comes out 640x480 and I have black bars on the top and bottom. I believe everything is set in FCP to 720x480. If I import a 720x480 jpeg in and drop it in the timeline, it is exactly correct. But my video has those black bars on them.
The only thing I can figure is that in QT I can see the info and the video it says is 853x480. This would let me know why I'm getting the black bars, but NOT why I can not export out the 720x480.
I've tried changing the Sequence setting, but to no avail. I'd like to playback in the Sequence window in real time.
What is the easy fix?
Oh, and since the original video is in "Apple MPEG-2 Camcorder Video" is there a Sequence Compressor setting I would want to use to make it easier to edit?

Make a copy of your sequence by control-clicking on the sequence icon in the browser, and from the drop down menu choose duplicate.
WORKING ON THE COPY YOU JUST MADE:
In your Sequence Settings, you need to check the box for "Anamorphic 16:9".
Then you should be good to go.
You'll notice in your item properties, have a check mark next to Anamorphic, which flags the video to be displayed correctly. By checking the anamorpic box in your sequence settings, you will preserve the correct display of your video through the editing process.
If when you check the anamorphic box the video looks small or distorted, then click anywhere on the timeline, type Command + A to select all you clips on the timeline, then control-click on any one of the selected clips and from the drop down menu choose "Remove Attributes". When the Remove Attributes pane opens, select Basic Motion and Distort (if they are not grayed out) and the click OK.
MtD

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IPhone 5 FCP7 Sequence Settings....

When using iPhone 5 footage (.mov) I always compress footage to Pro Res 422 LT but it's taking up A TON of space on all external HD's as well as my startup disk so I was thinking...is it possible to just drop these .mov files into FCP7 so that I don't have to render almost every move I make? Audio is not a huge part of this project. It's a music video with some pausing for audio.
Am I wasting all this time compressing for no reason? If I am, what would be the correct sequence settings for .MOV's shot from an iPhone 5?
Thank you in advance for both your time and response,
Michael

MDF31 wrote:
When using iPhone 5 footage (.mov) I always compress footage to Pro Res 422 LT but it's taking up A TON of space on all external HD's as well as my startup disk so I was thinking...is it possible to just drop these .mov files into FCP7 so that I don't have to render almost every move I make?
No.
Am I wasting all this time compressing for no reason?
No.
If you want to edit without converting the video first, you need to change editors. iMovie, FCP-X, Adobe Premiere Pro will edit the footage without conversion.
MtD

How to change '2 Outputs' to '1 Stereo' in Sequence Settings

Any ideas how to change audio to '2 Outputs' to '1 Stereo' in Sequence Settings of FCP5.1.4? I'm always having to render my audio after importing!

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"Studio Edition Version 10.1.3.1.0.3984"
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Jacob

Sequence and Output Settings Question

Hello all,
I'm know this is a rookie question, but it's often hard to find a definitive answer to these types of things.
Here's my specific situation:
99% of my final output will be SD NTSC DVD-progressive for corporate shows, and I create almost all of my own content, or use stock animations from companies like Digital Juice. Rarely do I ever deal with DV captured from tape.
Given the final output, and given that my generated media can be basically whatever codec I want, what's the best sequence settings to use in FCP, and the best way to output it for nice, crisp, progressive DVD playback?
Thanks!
SyddyS

Mac Pro 2x3.0 Dual, 4GB Memory, ATI Radeon 1900
Also, on another note, I'm currently in a REALLY rare situation for me where I'm recording to DV tape. Everything looks great except for all titling created by FCP. Does FCP titling just suck? Anything in red or green hues has vertical lines running through it.
Thanks!
SyddyS

What are the correct 1080p sequence settings to choose in FCP7?

I'm planning to master a doc-film project in 1080p. The problem is that I don't see a 1080p setting in FCP's sequence settings window. FCP lists HDTV720p and HDTV1080i but no 1080p.
Do I therefore need to select the "Custom" setting? Or should I master in 720p and then upconvert to 1080p?
Thanks in advance for any advice,
Message was edited by: Nicholas Natteau1

The sequence setting must match the settings of the footage you shot. If you shot 1080p, then they will be 1080p. But what codec? HDV? AVCHD (that you need to convert to ProRes)? DVCPRO HD?
Look in the EASY SETUPS. That is where you find the settings. Although FCP will adjust them automatically when you add the first clip.
Shane

PP6 Multiple tracks output setting & why MATCH SEQUENCE SETTINGS isn't seeming to work correctly!!

First... can you change a active timeline from stereo to mulititrack 16 channels for instance without creating a new sequence and pasting old sequence into new one.
Also, watch this video...
16 channels of audio... great... try to match sequence settings it changes from 16 channels to stereo. Um... what's happening there???? How do we fix that?
http://youtu.be/EslOPTRk79E

Jim, this is the best place for Mike to post.
This is where the Premiere Pro engineers, testers, and product managers will see questions. It's extremely cumbersome to try to forward a tweet to the relevant expert, and it's even worse to try to troubleshoot and give answers longer than 140 characters (with screenshots) over Twitter.
That said, I'll get someone more familiar with the new audio features to have a look.

How do I match a clip to sequence settings and sequence presets?

I'm getting the warning: Attention - This clip does not match this sequence's settings or any or our sequence presets.
I'm trying to figure out how to set things up in Compressor so that my clips do match my sequence settings and presets. The issue seems to be with the audio not matching.
Here are the sequence settings:
Audio-2 Outputs
Frame Size- 1920x1080
Vid Rate-24fps
Compressor-Apple ProRes 422 (proxy)
Aud Rate 48.0 KHz
Aud Format 32-bit floating Point
I shot all the footage with a Canon 5D Mark II. I'm using Compressor to convert all my original clips. The only thing I don't seem to be able to match is the Audio. I can't find any way in Compressor to encode clips that have "two outputs" in the Audio column.
The dialogue box for "Sound Settings" in Compressor doesn't offer any sort of options, that I can find anyway, to generate clips with "two outputs."

These are the Compressor settings:
Description: Apple ProRes 422 10-bit video with audio pass-through. Settings based off the source resolution and frame-rate.
File Extension: mov
Estimated size: 16.36 GB/hour of source
Audio Encoder
Apple Lossless, Stereo (L R), 48.000 kHz
Video Encoder
Format: QT
Width: (100% of source)
Height: (100% of source)
Selected: 1920 x 1080
Pixel aspect ratio: Square
Crop: None
Padding: None
Frame rate: (100% of source)
Selected: 24
Frame Controls: Automatically selected: Off
Codec Type: Apple ProRes 422 (Proxy)
Multi-pass: Off, frame reorder: Off
Automatic gamma correction
Progressive
Pixel depth: 24
Spatial quality: 50
Min. Spatial quality: 0
Temporal quality: 0
Min. temporal quality: 0
These are the sequence settings:
Frame Size: 1920 x 1080
Editing Timebase: 24fps
Field Dominance: None
Pixel Aspect Ration: Square
Anamorphic 16:9: Off
Video Processing YUV allowed (8-bit)
Compressor: Apple ProRes 422 (Proxy)
Millions of Colors (24 bit)
No Data Rate Limit
No Keyframes Set
Quality: 100
Audio Settings:
16-bit 48.000 kHz Stereo
I made screen shots, but don't see how to paste them into this post.

Authoring to DVD w playback monitor capable of HD, Sequence settings?

Hello Macaroonies,
As the subject line reads, I'm working on a project w a final output for playback on DVD hooked up to a HDTV ready 16:9 monitor.
I'm working in the sequence setting preset NTSC 3:2 (720x480) and plan on converting the finished edit to progressive as a last step. The theory here is to maintain a less-renders-required workflow in standard Ntsc (ie 480i) and convert to progessive just before output.
Is this the highest quality setting possibility in this case? Are there better ways to author to DVD and take advantage of the monitors capabilities?
The monitor itself is reformatting the image from 4:3 to 16:9 and it looks good. As an option, should I have the anamorphic setting activated within FCP sequence settings?
Thanks, Mac ain't cheeze
Drew

Alright, that helps a lot.
This is something of a gray area, but if you're ultimately going to be playing back on this monitor - and only this monitor - you can forgo the Anamorphic thing because you can simply use the LCD monitor's in-built menu to fill the frame (as, I believe, you said you're doing currently).
Of course, in the off chance that this project needs to be played on any other monitor (or a 4:3 monitor), you're backed into a corner.
Personally, I would favor going Anamorphic - and adjusting your monitor appropriately - but the distortion issues confuse/annoy many people.
Now, if you're looking to make a progressive (as in 480p) DVD, I would suggest trying out the DV NTSC 48kHz - 23.98 sequence preset. Or it's anamorphic sibling. (How where you thinking of going progressive?)

Sequence Settings when using low resolution video

I am going to create a project that will consist of DV 720 x 480 and some really low resolution video from digital still image cameras.
1. If I export as DV NTSC, what is technically happening with the video that is in my Sequence that is smaller than 720 x 480? Is it being stretched to 720 x 480?
2. If my project did not include the 720 x 480 video, would it be better if I adjust the sequence settings to match the size of the low resolution video?
Thanks.

#1: If you make a 720x280 DV NTSC sequence and insert the low-res video, how it appears in the canvas will be how it appears upon export.
#2: Depends on your intended output.

Does exporting DV using "Match Sequence Settings"

I am capturing VHS and Hi8 home video using a Canopus ADVC-300 and Premiere Pro CS6. The output is DV, about 14GB/hour. Most of the captures are unattended (have a 4 TB disk, backed up of course, but space is not a big concern right now). I'd like to get everything imported before starting any serious editing, so I capture each tape twice: the first time, the video itself; then I rewind, turn the timestamp indicator overlay on, and capture again with the camera running at 2x speed. That way I can quickly find when a particular segment of a tape was recorded without winding the tape around in the camera, looking for the scene and the time isn't overlaid over the image.
I have two questions:
1) Since the captures are unattended, I need to trim the blue screen off the end of each captured files to save disk space. I'd like to confirm that if I trim a sequence and export with "Match Sequence Settings" set, that Premiere will not re-encode the DV except for the parts that I actually changed (I sometimes use dip to black around damaged segment of tape). Based on the export speed, I don't think it's recompressing and the quality looks the same but I'd like to double-check.
Does Premiere Pro CS6 always mark the timeline with the colored bar if processing is required? The "dip to black" parts get a yellow bar, but the rest has no bar. That would be a clue.
Also, the export dialog has "Use Maximum Render Quality" unchecked by default. I check it -- does it matter?
2) What is the best way to permanently associate a date/time with the captured video? I didn't see any way to bake it into the DV for each segment. I'm using comments in sequence markers, set at the start of each clip, but the sequence markers don't move if I ripple-delete, say 10 seconds of noise in the middle of a track. I can't figure out how to get markers attached to the video track instead of to the sequence. I found some videos that say how to do this, but they don't seem to apply to CS6. I found that if I export the sequence, the markers then do get backed into the DV. But I need them not to move if I ripple-edit. Is that possible?
3) My plan is to add a 3 or 5 second overlay title to the beginning of each segment saying what it is and when it was captured, but only for the final export. Is there a trick that I could use to create a title from a marker? This is not a big deal, but seems like a useful feature.
Sorry if the answer to these questions are obvious -- thanks for your patience.

Thanks for replying. The reason I want to re-export the captured DV is because I capture unattended, and don't know how much video there is on a 2 hour Hi8 tape or VHS tape.
I could find out by fast-forwarding through the tape and stopping, but it's more efficient to just capture the entire tape and then trim the end off the tape and re-export. I'm planning on archiving the raw DV capture, and 1-1/2 hours will fit on a 25GB BluRay disk. Two hours won't.
Thanks for the tip about the project panel. I never scrolled it to the right far enough to see the "description" or "log note" field. Hopefully those notes will wind up in the metadata of the DV .AVI file, but even if it doesn't, I'm planning on archiving the Premiere Pro project file with the DV .AVI file.
The copy/paste from marker to title is what I'm doing now. I just wanted to make sure I wasn't missing something easier.
So... does anyone know if Premiere Pro will pass-through the original DV if I re-export after making minor edits?

Sequence settings misunderstanding

Hello everybody. I have searched the forums and have went back to the manual for FCP but cant seem to find the answer to my questions. Any help would be appreciated.
I am curious about the sequence settings in FCP. I believe that a mistake was made in the very beginning and i know that the editing timebase cannot be changed once a sequence has been created and edited in. It seems that other changes can be made though.
Before I go further, here is my set up... I shot on HDV 1080 24p (1440X1080).
My sequence settings for the project seem to deviate from what I shot at. Some things are as they should be and others are not. The frame size is good, the pixel aspect ratio is good, and my audio settings seem on track too.
However, The field dominance is set to Upper(odd)....this should be set to 'none' since i shot progressive correct??? My editing timebase is 29.97, since i shot 24p and it cannot be changed... how does this effect my project/the final output to dvd ?? My quicktime video settings are set to HDV 1080i60, it seems that I can change this back to what it was shot at, but my question about this is what exactly does this effect in relation to my project and final out put of the project to DVD??
I have not had any major problems viewing or working on my project in FCP. I have done a few tests with compressor and then burning to dvd, and my quality seems to be less than what I would like. I have tried different compression settings including HD MPEG-2 @ 18Mbps.
Could the loss of quality be coming from my current settings in FCP or are they more than likely in Compressor. If my frame controls in compressor are on, what should the rate conversion be set to, and what qualities does this effect? I also am not understanding the deinterlace settings. If the output field setting is to 'same as source', why does it even give you a choice if you shot progressive?? I AM Confused about these settings as well.
I realize there are many questions bundled within this post. Please be patient with me and any info would be appreciated.
thanks
joe

To my knowledge HDV at 1080 is interlaced.
You could:
Open a new sequence and drop a HDV clip in/FC will ask if you want to conform the sequence to the clip-click yes/sequence settings will now match the clip and show you exactly what you are dealing with. This info can also be found in the columns for each clip and sequence but I find sequence view is easier to understand what you have.
Creating a Blu-Ray via Compressor is your only option for HD on a disc. DSP has no relevant HD options as HD-DVD lost the format war to BR over two years ago.

Sequence Settings for Computer-targeted Projects

Hello,
It seems to me -based on a scan of the forum's topics- that there are many people who would like to use FCP for creating computer-targeted output, that use still images as the source material. That is, projects not destined for tape or broadcast, that were not shot on video. I realize there are 3rd party apps that do this sort of thing, but the reality is there's no need to spend more money. Creating Ken Burns type effects for example, is very easy to do in the Motion Tab. It's the related sequence settings and render settings that cause the real problems IMO.
For those who do this kind of work successfully on a regular basis, it would be good to create a list of settings that work well, so others can avoid the painful process of trial and error. Sadly the manual (great as it is) isn't much help on topics relating to still image projects. They mention things like square pixels or image size in passing, but they do not give examples of how to start this type of project from scratch.
So post away; let others know what settings work for you. If you can post the project type, source type, and then the settings, so much the better. Something like:
Type: Web Slideshow
Source: TIF, PSD
Frame Size:
Field Dominance:
Timebase:
Video settings:
etc

Bogie: if some of the sequence settings listed are dependant on the imported material (think that's what you're saying), why are we even able to change them? I guess this is an Apple design issue but seems strange if they "are not part of the creation process", that they should be in the same panel as the other items that are, etc.< </div>
Umm, no.
The question here asked about export settings, they did not ask about project or sequence settings. If you meant to ask about sequence settings, that's an entirely different thread and, frankly, it's all covered in the manuals.
To repeat what Zeb has said, because we can't quite seem to get us all speaking the same language here, use conventional, known formats for your production and creation of effects; DV is a great place to star because it's flexible and it's built into FCP (h264 is not a production format, Animation isn't either, nor is MPEG2).
Render your sequences and export them as self-contained movies. Bring them into Compressor and (doh!) open that manual for a few hours of casual and frustrating reading. Compressor is where you will create your transcoded, encoded and compressed movie for delivery to the Web.
What settings will you use in Compressor? Those are determined by your Web host's demands. The smoothest path to Web delivery is to give your Webhead a DV file and tell them to use their favorite compression and encoding tools to create their own favorite formats and bitrate settings.
bogiesan

Sequence Settings - LiveType & FCP for widescreen

I am creating a project using text clips created in Live Type to be played on widescreen monitors (I assume they are HD but am not positive). Clips are only white moving type on black background. no images.
What would be the best setting to use for project in Live Type? I know I have to use the same sequence setting in FCP. I have tried a few different things and don't seem to get it right. (having to render in fcp when I edit clip) I did watch the video on "Editing non-standard FCP codecs. But I want to start with my LT clips being optimized for the final output.
Thanks.

There are presets for livetpe and for fcp that are 16:9.... some are HD, some are not... but in any event you should be using the same in each program. Also you'll have to render any livetype animated title in FCP... even if the sequence settings match. OR you can export a QT movie of the livetype animation and import it into FCP for the edit, then the "render" will have been done via the export of the QT movie. The best would be uncompressed HD, however this would take some very serious hard drive speeds (think fibre channel array) to play the files back with.
Jerry

FCP- DVDSP sequence settings. frame size

Question of sequence settings. when making a DVD, will the sequence setting, Frame size make a difference?
We are just starting to edit a documentary, which uses alot of still photos and graphics. The rest of the video is shot on DV. I have tried laying still photos on the DV sequence, but it looks like still photos look really compressed and blurry. Not so good quality wise. If I set it to CCIR 601-NTSC, the photos look super good. We are NOT outputting any digi-beta uncompressed, but only to DVD.
I am editing sequence in NTSC DV, but thinking of just before getting outputting with compressor, I am thinking of changing to uncompressed sequence CCIR 601-NTSC, and then compress it to MPEG2. (doing this later so that i can do alot of edits RealTime and worry about picture quality later) of course the picture size does get smaller... I don't really know the effect of this on a teleframed television.
Will that make a difference? Seems that if I go through DVcompression AND MPEG2 compression, both, is more compression than MPEG2 compression itself. Is there a site that talks about it?
Thanks in advance.
Lost

I only have "a bit" of experience working with stills in a DV sequence. But one thought concerns how you are integrating the stills and the video. I assume you are going to pretty much intermix the stills and the video and audio (interviews or whatever) that may go with video and stills.
The DVD format, of course, supports stills as a slide show directly, but this will not accomplish the intermix very effectively.
As far as size-quality, you may want to import the stills are larger than DV image size and then pan across them, etc.
At the end of the day, to achieve a seamless edit job, you are probably going to need to have all the stills sitting on a regular DV timeline for export / encoding to MPEG2.
I honestly do not put much stock in the differences between viewer and canvas. I always use an external NTSC monitor to judge the final appearance. I started with a cheap TV and recently upgrade to a nice JVC production monitor. This is the real measure of the final video, in my experience.

What sequence settings should I use with multiple formats?

I'm starting a new project in CS6 that's using multiple types of video. I've got old camcorder video from 20 years ago...as well as digital video...and current HD video. I want all the video in the sequence to output as full screen. So do I need to use the 720 x 480 settings to accommodate the old camcorder video? Or will that mess up my new HD stuff? Thanks.

First you need to force Premiere to interpret the camcorder files as widescreen. So highlight all the camcorder files from the project panel, right-click and select Modify -> Interpret Footage. Then change the pixel aspect ratio to "D1/DV NTSC Widescreen 16:9 (1.2121)".
Next you need to upscale the camcorder files to the HD project window size. So after you drop them on to your timeline... highlight one or more of them, right-click and select "Scale to Frame Size".
Finally you may want to fine tune it to remove edge artifacts or borders. There's a few ways to do this but the quickest would be to just slightly increase the Scale settings in the effects control panel. Once you have a good look, you can just copy and paste the scale settings to all the other clips on the timeline.
Alternatively, you can use Red Giant Instant HD to do the up-scaling as I'm sure it do a much better job.
-Pete

FCP7 16:9, Sequence settings, output 4:3?

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