Stabilizing UHD footage on a 1080 timeline.

Has anyone yet come up with a clever workaround to stabilize UHD footage on a 1080 timeline without losing resolution if the warp plugin is scaling up the nested footage in Premiere pro cc?
/Per

Now I've finally figured it out. I went to bed and woke up with the solution in my head. :-)
I drop my 4k footage on my 1080 timeline and trims it to the desired length. Then I right-click on the footage, and press "Make subclip". Then I will make a new sequence from that subclip by dragging it to the "New Item" icon. This creates a 4k timeline with my trimmed clip. I will then apply the Warp stabilizer and let it do it's thing. When it is done I'll go to the effects controls and choose "Stabilize Only" under borders/framing. That leaves me with a 4k clip that is NOT scaled up, and therefor the very same resolution as when shot. I now simply drag that 4k subclip into my 1080 timeline, and scale it down to what I want, and of cause to a point where it fills the frame at all times

Similar Messages

What is the best way to work with mixed media in 1080 timeline?

Hi there,
I have a project shot mostly in 1080 24p but a bit of 720 24p and 4x3 30p footage.
What is the best way to work with this mixed media?
Thanks!
Steven

Hi Shane,
Ok just to recap (thanks for being patient by the way)...I have put some questions in here...feel free to write in caps to respond and we'll put this baby to rest!
1) I will work in a 1080p FCP sequence, correct?
2) HD 1080p footage captured as applepro res hq I will leave as is and work with?
3) HD 720p footage which was captured as applepro res hq. Can I just drop in 1080 timeline and let FCP do its work? Or should i run through compressor, if so what setting shall I submit it too?
4) I dont have a budget for an external hardware to convert SD to HD...should I capture my SD Beta through Final Cut and just leave and let FCP do its work? Or should I run through compressor? If so what setting shall I submit it too?
5) For for my master sequence in FCP am I not using an I-Frame format apple pro res if I am using my apple pro res hq 1080 footage as my formatted sequence? I am not sure what you mean by GOP?
6) I also found some 60p footage 1080p XDCAM compressor shot with the same XDCAM camera. I put in the 1080p 24p timeline but it was pretty choppy...any ideas of this conform?
Thanks very much for all your help it has gone along way,
Steven
Saying what CODECS you are working with was my question. 1080, 720, 4:3...really says nothing. There are a dozen 1080 codecs, another dozen 720 codecs, and nearly 100 4:3 formats.
Best to capture all the footage to one uniform codec.
Second best is to work with one format and let FCP conform the rest to that...IF and only IF that format is an I-Frame format like ProRes. GOP formats as master sequence formats cause TONS of issues.
What I'd do is work 1080 ProRes, just add the 720p footage (Use Compressor to convert it if you didn't have a lot, but if you had a lot, just add it), but I'd capture all the SD 4:3 footage via a Kona 3 or Matrox MXO2 as 1080 ProRes. Hardware conversion of SD to HD is much better than anything FCP can do. AE might do good as well. But then use Compressor to convert 29.97 footage captured (you can't convert 29.97 to 23.98 when you capture) to get to 23.98.

Edit HD footage in a PAL timeline

Hello gurus!
I will be editing a commercial with the latest FCP installed on my laptop. The commercial will be shot entirely on a Phantom Camera (1920x1080 HD). I will export the Phantom footage to TGA or Tiff sequences and then import them into FCP. The finished product will be delivered in PAL format.
I guess what we want to do is edit the HD footage in a Pal timeline but have the full 1920x1080 resolution available so as to perform various zooms on the HD footage and still retain PAL quality. The zooms will not be exceeding PAL limit i.e we will not zoom in the HD footage past 720x576 pixels.
Will this work if i just follow the above procedure, import HD footage and use a PAL timeline? Will this retain full HD quality of my footage or will the PAL timeline force the footage into 720x576? Will I probably have to render all the time? I am opting for delivering a title-less finished film in Pal format and then hand it over for the titles to be placed at a later stage.
I am new at HD so any help will be appreciated.
Thanks
Tolis

Thanks a lot you guys,
like you all said, it is as simple as importing HD footage and editing them on a SD timeline. Here's what i did:
I took my image sequences and converted them to ProRes .mov in Quicktime then dropped them into a DV Pal project with the DV Pal Sequence Preset (I tested both High Quality and Proxy and both work in FCP with no need to render) and voila, i have HD footage to pan and zoom around to!
This is what i wanted to do.
I also did a few tests and i am posting the questions that came up in the process.
When i did the test i realized that whichever workflow we devised, i would have to convert my image sequences to video before bringing them into Final Cut!
Any other way to create video files out of image sequences besides QuickTime Pro or Mpeg Streamclip?
Is the HQ ProRes codec or any other ProRes Codec good enough to retain all color space so as if i convert all my Tiff Sequences to it i can use as my new source for online?
I also tried to work with the HD Tiff files directly into FCP and would like to know what would the best Sequence Preset be. I used 1920 x 1080/HDTV 1080i (16:9), square pixels and no field dominance. For the compressor part i found out that if i use uncompressed 10 or 8 bit, i can work without rendering, same with the Apple ProRes but if i put Tiff as a compressor i need to render to work. Can you explain a bit more on what the compressor option refers to in the sequence settings?
Another thing i tried is the Auto Conform option for new sequences but it appears to not work when i drop a tiff file into the sequence. I guess FCP does not consider this video to conform the sequence to.
Again thanks a lot for all the help. I will mark this thread solved once we discuss a bit more the new questions that came up.
T

Using 1080i footage in a 720p timeline?

Just curious if anyone out there has used some 1080i footage in a 720p timeline. Does the 1080i stuff convert to 720p very well? Does it look like progressive video? I'm asking because my main camera is the JVC HD100 (720p native) and I want to know if I can match footage from the Sony Z1U (1080i) in a 720p timeline.

Unfortunately, just letting FCP do this will produce pretty unacceptable results, it just drops frames and does not deinterlace.
Shake will do this very nicely, and its recent big price drop makes it an attractive tool to have around. Alternatively, you could use a free utility called MPEG Streamclip from Squared5 (http://www.squared5.com/svideo/mpeg-streamclip-mac.html). Among many other conversion tasks, I've used it's downrezing and deinterlacing capabilities to do exactly what you want (Z1U footage to 720p) and it does a very good job.

Aliasing with progressive footage in a progressive timeline

Anyone ever experience this?
I've rendered out some 1080p Sheer codec source spots... down-converted them to 480p widescreen DVCPRO50 through QuickTime Pro. They look flawless in the QuickTime player. Obviously no fields. Pristine.
Now... when we take the DVCPRO50 footage into FCP. Create a timeline that matches the footage identically (30p 16:9 anamorphic DVCPRO50)... on playback there is all this weird aliasing going on.
Double-checked the footage..... it's definitely 480p. Zero fields. Definitely 29.97... FCP Pro file information shows it is reading it as 29.97progressive. No pulldown.... Sequence is absolutely solid. 29.97.... no fields... and yet on playback we get this weird aliasing like it has fields. Similar, but not quite exactly like watching interlaced footage in a progressive timeline.
Playback is through the Blackmagic Decklink Studio video card. Double-checked all hardware and user settings. All are as they should be....
What the hades is going on?
Much help would be appreciated...
Doug

Rather than downconverting with QT, try Compressor with with Frame Control, Resize Filter set to Best.
*Doug Stringham wrote*:
+Only when it comes into FCP does it look wonky.+
Are you sure that you don't have a footage/sequence settings mismatch? No rendering required?
Are you viewing at 100% in the canvas?
Are you viewing externally on a broadcast monitor?

Putting 60p footage in a 25p timeline?

Hi gang,
I know that CS5 can handle 60p from the GoPro HD camera without problems, but my question is what happens if I try to put footage from this camera in a 25p timeline? Thinking of using a GoPro HD camera as a crashcam, shooting in 60p for slo-mo. Is it feasible to put this footage into a 25p timeline without major problems?
Thanks for any input!

Sure thing. However, if you want it slo-mo, you'll have to interpret the footage as 25fps (or whatever your desired frame rate is); you have to tell Premiere how many frames you want to playback in a given amount of time (i.e. one second). If you don't interpret the footage, Premiere will simply drop and/or interpolate frames as necessary to match the 60 frames per second of the source footage to the 25 frames per second of the destination sequence.
When imported, right-click your clip and select Modify > Interpret Footage; you'll want to select the "Assume this frame rate" option and enter your desired frame rate.

I've accidentally imported and edited my hd footage onto an ntsc timeline.

I've accidentally imported and edited my hd footage onto an ntsc timeline. I'd like to export it now, but it is not preserving the hd ratio without being letterboxed. I've changed the settings on the sequence to hd 960x720, but the footage now looks stretched and squeezed in the viewer. How can I get my footage looking the way it should and on a sequence with the right settings? Thanks.

While I have you though...what is the difference between the two HD export options when exporting with quicktime converter? One option has a 16x9 next to it, one doesn't. I'm assuming since my footage was captured natively 16x9 that I do not need to choose the HD with 16x9 option? Or should I choose this if I plan on posting to the web, so that it is embedded as and knows to play as a 16x9 HD video online? Sorry if that is horribly worded and difficult to understand. Thanks.

Any body know why FCPX doesn't support footage recorded in 1080-60P form Panasonic HDC-TM900 camcorder?, Any body know why FCPX doesn't support footage recorded in 1080-60P form Panasonic HDC-TM900 camcorder?

Anybody know why FCPX doesn't support footage recorded in 1080-60p form Panasonic Camcorder HDC-TM900???

I'm trying to decide on a new camcorder between the new yet to be released Panasonic HD-X900M and the Canon VIXIA HF G10. Currently have a Canon HV 20 which works great, but thought I'd upgrade to newer tech. Looking at the supported cameras list published by Apple, the newer Panasonic hasn't been tested yet so am unsure if it is the same as the previous model. I suspect it is. The newer Canon appears to be good, but spec. say it is only good up to 1080I. I'd rather have the progressive camera if it isn't that much of a hassle to convert the files.
Thanks for alll your info on this subject.
Dale

Resizing 1080 footage in a 720 timeline

I have an interview shot at 1080/30p and my finished product will be 720x1280. I'd like to work in a 720 timeline and take advantage of the extra data in the 1080 footage to punch in occasionally with an edit and resize. I.e. create close-ups even though a close-up wasn't shot by zooming into the footage. My logic tells me that should work so long as I don't go too far.
But when I do this--punching in say 30%--these "close-ups" are soft and/or pixelated even after render or export. Is my logic flawed and this just shouldn't be done?

i've had that experience too. mine was shooting in 1920 and editing in 1280, but i noticed the 1920 when blown up has that look. the best you can do i think to avoid that "soft" look, is to shoot framed in a way that you're maybe an MCU then your edit won't need to be larger to get that CU feel. i don't really know what else to do.

Timeline Footage Looks terrible in timeline

Hello!
Im having difficulty in final cut pro, My captured footage looks absolutely terrible on the timeline and when its exported it’s in 4:3 and looks squished, What is the BEST outcome I can setup with this footage, Im a tad naive when it comes to codec’s etc, I literally have two days to get this project completely done and im really struggling on what settings I need as my two source materials are different size’s codecs etc.
I have two sources of captured footage that Im editing between. the first is in:
DV - PAL, 720 × 576, 4:3, 25 fps, 28.80 Mbps - Audio: DV stereo, 32 kHz, 28.80 Mbps
The second camera’s footage is in:
.mov Apple Intermediate Codec, 960 × 540, 25 fps, 29.43 Mbps - Audio: 16-bit Big Endian stereo, 48 kHz, 1.54 Mbps
The sequence settings are set to:
720x576, CCIR 601 / DVPAL (5:4)
Pixel aspect ratio: PAL - CCIR 601 (720 x 576)
Field Dominance: Lower
Anamorphic 16:9: off (Tried exporting with this on and off)
Compressor: Apple ProRes 422 (Was defaulted to DV PAL)
I use Final Cut Pro 6.06 on an Old Macbook running OSX 10.5.8
I have my mac plugged into an external TV as a monitor at 1920 x 1080
The footage is being used on a projector for an audience, Either as a DVD or File, It may be used on the web later.
Here is a screen grab of the DV footage in the timeline in final cut pro and opened up the source footage in quicktime side by side.
http://i.imgur.com/fs6D7.jpg

Ah, Sorry. I was origionally there, But after messing around with getting a new password for an my acount, the "go back to community support" link took me to the wrong place.
Proper Forum https://discussions.apple.com/thread/4245288

4k Footage in a 1080 sequence

Hello together,
I'm having a new problem in my 1080 sequence. I edited some 4-k-footage in in and scaled it to 50 percent to keep the original framing. When I click on that part in the timeline it looks fine. But when I playback it seems to ignore to resize effect and plays back the zoomed in framing.
I am sure that this is only a small problem, but since I'm new to Premiere, I can't seen to find a solution.
Thanks for your help
Greetings from Germany
Pat

Hi Drking2020,
I see you have seen this forum post: Re: 4k Playback in 1080p Sequence - Zoom out in 1/2 resolution
Try those things that Mark Mapes mentioned, such as changing the playback resolution.
Thanks,
Kevin

Exporting C100 footage from an edited timeline proving impossible help!!!!

The Canon C100 I now know shoots in a formate called PsF which is a type of interlaced that is but isn't interlaced? Yes I'm kind of confused. Anyway Premiere reads the footage I shot as 1080i and 29.97fps though I shot it at 1080p and 23.976. Yes I've talked to Canon Cinema EOS tech support team about this and they say they have no answers that it depends on the NLE I am using. I'm using Premiere CC on a Macbook Pro Retina, 15" fully loaded.
I decided to edit a timeline that Adobe chooses when adding the footage to it automatically. I export and I keep getting the error message. "Unknown error" HELP!!!

I tried it both ways, I was on the phone with an Adobe rep who took control of my computer. We were on the phone for two hours while we tried different things. Here's what we found out. The mercury playback engine doesn't like the C100 footage. You can take Red Epic 6k footage and edit without a hitch with a macbook pro retina 15" but not the C100. I turned the renderer to "software only" and it took 10 times as long but it exported. So for this particular project that's what I'll have to do. As for Clipwrapped footage, it doesn't matter, Mercury hates it. So it's time for Premiere to address the C100 directly. NOT AVCHD assuming that AVCHD is the same across the board because it isn't. This whole PsF flavor of it is a pain to work with in any NLE. Anyway I'll keep researching. Thanks

Interpret footage vs dropping onto timeline

Hey fellas -
Can someone explain the difference between using the Modify | Interpret Footage option vs just dropping the footage onto your timeline?
Example: 4K 24P source footage on a 1080P 23.976 timeline
Any sound synch problems with either option?

I've found there is a difference between 24 exact and 23.976. If you have 24 exact, just use a sequence with that frame rate.

Beginner question: can i have 16x9 and 4x3 footage on the same timeline?

Hi,
I am assembling a highlight promo reel for somebody and i have 16x9 and 4x3 footage. not sure what to do or which footage to convert, since i need them both for the promo. any suggestions would be appreciated, or please direct me to a past discussion.
thank you
-shelby

If the majority of your footage is 4:3 work in a Timeline that is 4:3.
Your 16:9 footage will letterbox automatically to fit with black bars at top and bottom.
You could also cache the 4:3 material with the Widescreen filter to fake a 16:9 look.
If the majority is 16:9, use a 16:9 Timeline. Your 4:3 footage will pillarbox -black bars at left and right.
You could fill that area in by placing a copy of the 4:3 above itself on the Timeline. Enlarge and blur the lower layer to give your clip a complimentary "border". Simply blowing up 4:3 video to fit a 16:9 Timeline will make it look horrible.

Use 60 fps footage in 24 fps timeline

I will apologize in advance because this is sort of a stupid question but I swear I have been told there is an easy way to do this...
I have a timeline that is in 24 fps. I also have a few shots that are shot at 60 fps. While I could just put the 60 fps clip into the timeline since frames get dropped it looks very intense and jittery. Now, I know I can conform these to 24 fps using cinema tools but that makes them slow motion.
Is there anyway or any programs that will allow me to conform the 60fps footage into 24 fps without turning them to slow motion?

and set everything to BEST...
... then go have a nice dinner at a restaurant with linen table cloths, a good night's sleep, a leisurely breakfast, a late lunch and stop by to check on the process before you start the cycle again.
Best is VERY computationally intensive. I'd start with "Better" in frame controls and see if it gives you acceptable results. If not, then go the "best" - and living large - route.
Cheers,
x

Stabilizing UHD footage on a 1080 timeline.

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