Widescreen/anamorphic

Urgent help is needed please
My video is filmed in DVPAL anamorphic with a XL1s
We need to make animations between the clips and use motion for this.
After creating an animation an adding black borders to get an anamorphic effect: selecting add filter/border/widescreen with an aspect ratio of 1.70 the movie seems to be smaller in height than the videoclip?
How can I solve this problem.
G5 Mac OS X (10.4.2)
G5 Mac OS X (10.4.2)

New Discussions ReponsesThe new system for discussions asks that after you mark your question as Answered, you take the time to mark any posts that have aided you with the tag and the post that provided your answer with the tag. This not only gives points to the posters, but points anyone searching for answers to similar problems to the proper posts.
If we use the forums properly they will work well...
As well as thanks, you could throw Nipsey some points...
Patrick

Similar Messages

What are the ideal specs for a DigiBeta master tape when authoring a "widescreen anamorphic" 16:9 SD DVD (original aspect ratio is 14:9)?

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...)

Exporting widescreen anamorphic video for the web

I have a project in fce which is filmed in widescreen anamorphic at 720, 576 the setup in fce is dv-pal anamorphic and anamorphic is checked in item properties. When I export using quicktime using h.264 encoder it shows at as widescreen in the preview but when I open it after export it is squashed. I know that is because it is anamorphic but how can i export for the web and get the correct image? If I was doing full scale I could just change the resolution from 720 to 1024 but what if I want to do lower resoultion is there a better way? Thanks.

WMA is Windows Media Audio. I think what you meant is WMV (Windows Media Video). To export to that format on a Mac you'll need Flip4ac, available from www.flip4mac.com Once you've installed it, it adds the WMV and WMA export option to QT and other apps such as Sorenson Squeeze.
-DH

Clips shot in different formats: widescreen & anamorphic... HELP!!

So I'm editing video for a client who shot one event on 2 cameras... a Panasonic AG-DVX100 in fake-widescreen, and one of the prosumer sony hd cams (though the material is sd) in real widescreen. When I opened it up in FCP, the clips shot on the sony are (real) widescreen, whereas the material shot on the panasonic seems to have stretched.
My thinking is, because the sequence settings are set for the real widescreen, it tries to stretch out the panasonic footage. Reshooting is not an option, and we absolutely need material from both cameras. Is there a way to work with both clips in their native format in the same sequence? I'm sure there is a very basic fix for this, but I've never encountered this problem before. Thanks all!

The DVX was set to Letterbox instead of Anamorphic. You can setup your project as a 4:3 letterboxed project and import the "real" widescreen footage (anamorphic) into it. The sequence will letterbox it on placement into the sequence.

Output of SD Widescreen Anamorphic File to 960 x 540

I have a client whose source file is a 960 x 540 MP4 "protected" file. DVDs seem to be to their satsfaction, but now they say the uncompressed QuickTime file is lackluster in quality. I believe I outputted to Anamorphic (854 x 480). But should I set to 960 x 540? I am trying to avoid distortion for them since they are planning to make DVDs from the uncompressed QuickTime file. And what QuickTime format would work with iDVD or as a Stand Alone file (Intermediate Codec, etc.?) Any other suggestions? Many Thanks.

Are you and your clients outputing NTSC or PAL DVDs?
If working in NTSC 4:3, the files will be 720x480
If working in NTSC 16:9, the files will be 720x480 Anamorphic.
If working in PAL 4:3, the files will be 720x576
If working in PAL 16:9, the files will be 720x576 Anamorphic
If they are providing source material in non-standard frame sizes, you'll have to figure out how to crop or pad the image to get it to fit into the appropriate ratio.
I would work in ProResLT and use Compressor to do the resizing to DVD dimensions. In compresor, set frame controls to best. It will take a while to crunch it down but the image will look as good as it can.
x

Aspect ratio on widescreen tv - letterboxed

This has been brought up before, and there always seems to be the same answer…'its a setting on the tv/dvd to correct to play 16:9'…I have an SD widescreen anamorphic video that displays on tv as letterboxed and stretched, but yet the main menu of the dvd from DVDSP4 displays perfectly. There is no setting adjustment for display on the DVD. The display setting on the tv is set to 16:9. I'm baffled here. How can the main menu display right but the vid asset is stretched and letterboxed? I worked in FCP6 and exported to QT movie….from there I dumped it into DVDSP4 and created what I thought was a standard 16:9 dvd. Thoughts,…ideas…suggestions?

You also have to mind the display setting on the DVD player appliance.
At home I have an Insignia (Best Buy) DVD player and a Playstation 2. Both of these appliances were originally hooked up to 4:3 TVs, and now they're hooked up to 16:9 TVs. Just to make matters more fun, the Playstation 2 has a setting that applies to games and a setting that applies to DVDs. On the Insignia player, using the SETUP button on the DVD player's remote control, I set the display to 16:9. If I watch a 4:3 DVD on it (such as an old Bresson movie) I just change the TV's display setting (the TV's Dynex, also from Best Buy) and I haven't touched the DVD player's settings in years. Some Hollywood DVDs from 2009 and earlier have the previews at 4:3 and the main movie at 16:9, a mild nuisance.
In short, my advice to you is to make sure that both the TV and the DVD player are on the same page, so to speak, on aspect ratio. If that doesn't work, you might be dealing with a holdover glitch that also affects Windows Media Player; let us know the brand of your TV and DVD player.

Fcp preset: pal 1024 x 576 anamorphic

Dear Great Experts.
Is there a preset in fcp for widescreen 16.9 anamorphic for pal? Or what elements would one incorporate for such a preset.
Broadcasting over the internet.
Greater details if needed:
I don't know much, but will tell you what i do know, and probably alot will be unnecessary to tell, but I would need to be more of an expert in this area to edit what I will be writing here...lol, thanks so much:
We make animations, or slide shows movies in After Effects in a 1024 x 576, Preset: Pal D1/DV Wide Screen Square Pixel, Pixel Aspect Ration: Square format.
Then render with output module settings in After Effect using: 'stretch' to 720 x 576, locked to 5.4 aspect, Pal D1/DV, which squishes the final movie horizontally, as you can see. This is to get, as I understand it, the anamorphic element needed (for the method in which it is broadcast, ie, thru Airbox and Octoshape).
Then it is compressed with Compressor: This setting unsquishes it horizontally putting it back into a 16.9 ration, but in a smaller size, 720 x 405, and makes it into a special type of mpeg 2 format which is called a 'program stream' for broadcasting over 'Airbox' which the viewer also has a choice of using 'octoshape' for viewing. This puts the video and audio together as 1 element.
Would like to bypass After Effects and just do movie in FCP with an output that will accomplish the above (see summary below too). I assume that the compression with Compressor will still be necessary to get the specialized mpeg 2 format need for the 'airbox' broadcasting.
Summary: Would like to produce a fcp output that allows for the 1024 x 576 size, pal widescreen, anamorphic and then can be compressed to the special mpeg 2 program stream which ends up with the 720 x 405 (16.9). Know how to make preset, just need to know what elements to incorporate for the preset.
Side Note: We are told we need to start out with the larger size of 1024 x 576 for better quality. Our video dept would prefer that we start out with HD size of 1920 x 1080 but our equipment cant process files that large, so video dept said ok to do the 1024 size.
Ok, Wow, if you are still with me, I thank you a million times over and wonder what you think?
Lots and lots of thanks dear ones,
With most sincere thanks,
Hope

Dear Nick,
Thank you for this timely response and explanation. Appreciate you taking the time to answer this.
Am using fcp 6.0.6
Are there certain settings that I could make/change to structure a custom preset to accomplish this?
Thanks again...
Hope

Widescreen & FCP 5

Hi,
Please tell me if I am crazy:
Back when I had iDVD 5 (in the good old days), if I exported my widescreen (anamorphic) video from Final Cut Pro 5.0 to be inserted into my iDVD project, I had to use a nifty feature called the "Anamorphizer" ... which ran a script and added the correct tags to my movie so that iDVD would recognize it as a widescreen flick.
Now, when I upgraded to iDVD 6, I DISTINCLY remember no longer needing to use the Anamorphizer (handy as it was). I believe that iDVD had fixed itself. I deleted the Anamorphizer program (after reciting the appropriate eulogy) and made widescreen movies without it.
Some time has passed, I am back at it again and: lo and behold, the widescreen ease I thought I had purchased with my iDVD 6.2 upgrade has vanished. I had to download the Anamorphizer again (which still works) because iDVD is not recognizing my FCP export as being a widescreen film.
So, my question is: was I crazy? Has iDVD ever supported anamorphic video exported from FCP ? Or did it, and then did it stop ?
Thanks,
Damon

You're not crazy Damon!
Apple have still not resolved that issue. I know about Anamorphizer, but I can recommend that you have a look at MyDVDEdit:
http://www.mydvdedit.com/index.php?lang=english
which resolves the problem once and for all - or at least until Apple extract their digit over this issue. It is a bit of a lengthy workaround but at least you know that your DVD will be saved (and be automatically viewed) in 16:9 letterbox without the viewer having to adjust his/her set.
MyDVDEdit is donationware (freeware with a begging letter) and IMO worth a few bucks in his tin.
No, I have no connecrtion with him - just a satisfied customer!

What's Fixed in Premiere Pro CC2014.2

As noted in the blog post for the 2014.2 release, while this update includes a few new features, it is chiefly geared toward addressing known issues. The blog post lists the higher profile fixes. Below is is a more comprehensive list.
Import
Red frames in MXF clips from a particular model of camera.
Cannot import ARRI Alexa Open Gate clips
Import fails for IMX 30 MXF clips stored on certain proprietary media asset management systems. Error: Unsupported format or damaged file.
Some XDCAM HD Proxy files show red frames
Some .VOB clips play only audio or shows media pending indefinitely
Premiere does not recognize timecode for audio-only MXF files written by some third-party programs.
Only the first frame of video plays for AVC-Intra50 MXF files stored on certain third-party media asset management systems.
Spanned DVCPRO clips have incomplete audio if an XMP file is present but no media cache/pek file are found.
Some metadata from an Adobe Clip project does not get correctly logged on import.
Exporting & Rendering
Rendering fails for MXF media with Posterize Time effect applied
ProRes exports can be very slow when smart rendering
Encoded output can include black frames, corrupted frames, or frames from elsewhere in the sequence
Canceling export to P2 can result in low-level exception if the sequence duration is greater than a few minutes
Aspect ratio for IMX 30 widescreen anamorphic encodes is incorrect.
Edit to Tape: Audio drops out while playing out to tape
The Height setting for encodes to the GoPro Cineform codec is constrained to multiples of 8.
Smart Rendering: GoPro 2.7K footage cannot be smart rendered
AAF
Distorted audio in AAF exports with 24 bit embed option selected.
If a multichannel sequence has been nested into 2 channel sequence, then an AAF export yields the number of channels in the nest rather than the 2-channel mix-down
Certain third-party programs have problems relinking to video with Premiere's AAF exports. (Windows only)
If the first of two adjacent audio clips has a Fade Out applied, exporting as AAF converts it to a Fade In onthe second clip. (Mac only)
When AAF exports are opened in some third party apps, audio crossfades are treated as cuts or fade-ins.
Crash during AAF export if a video clip has multiple effects applied.
When AAF exports are opened in some third party apps, some audio clips and tracks are incorrect.
Crash upon exporting to AAF with disabled clips that have cross fades applied
If a multicam sequence with mono audio is nested onto a stereo or adaptive track, then exporting to AAF yields a stereo clip with the audio panned fully to the left.
When AAF exports are opened in some third party apps, rendered audio of is relinked automatically, but the video needs to be manually linked.
Playback
If a UHD ProRes clip is in an SD sequence an scaled to less than 50%, then scaling is ignored during playback at Full Resolution [GPU acceleration only]
Poor playback performance with certain third-party I/O hardware on OS X 10.9.
Crash during playback of R3D content [CUDA GPU acceleration only]
Audio
Audio sync is lost with some XDCAM content wrapped in QuickTime reference movie
Audio sync is lost when user starts scrubbing during playback while using certain I/O hardware.
When playing past an audio transition, the sound sometimes surges and has pops/clicks introduced
Audio dropouts, and Events panel reports "audio dropouts detected." [Prefetch purge related]
Audio dropouts in some scenarios after releasing memory (e.g., cycling focus to another app)[Prefetch-related]
Shuttling for an extensive time can cause audio dropouts
Project
If current user does not have write access to certain folders, the crash error message is uninformative (Mac only)
In Adobe Anywhere, crash when using keyboard shortcut to open Convert Project to Production dialog or the New Production dialog.
If multiple clients on a network use the same media cache location, then upon importing a given asset each client writes its own accelerator files.
The Find features in the Project panel and Timeline cannot search by Korean characters.
In Search Bins, moving focus by keyboard from one clip to another can cause the tree view to expand to show the bin where the clip is stored.
Project Manager/Consolidate & Transcode
If the destination drive has insufficient space, Premiere throws an "unknown error" rather than an informative message.
Project Manager writes some clips outside of folders
Consolidate and Transcode does not warn the user if the destination drive has insufficient space.
Unknown error can result from using Consolidate & Transcode with P2 content in the sequence.
In some cases, Consolidate & Transcode copies and renames the component assets for merged clips.
If Exclude Unused Clips is deselected, the components for merged clips sometimes still get copied; if the option is selected, the presence of merged clips can yield Unknown Error.
If the sequence being transcoded contains overlapping "soft" subclips, then some clips may be missing from the sequence in the consolidated version, and In/Out points may be incorrect for the subclips.
If Exclude Unused Clips is turned off and the project being transcoded contains "soft" subclips, then the consolidated version of the project does not have transcoded copies of the subclips.
If a sequence contains only audio from an A/V clip, using Consolidate and Transcode to some presets will fail with unknown error
If the sequences being transcoded contains two copies of a master clip, one of which was the product of Duplicating or Copying/Pasting in Project panel, the consolidated version of the project has only one instance of the master clip.
If the project contains multiple master clips for the same asset and Interpret Footage is applied, then the consolidated version will have multiple transcoded copies of the source asset.
If the transcoded sequence contains a hard subclip (i.e., "Restrict Trims to Subclip Boundaries" enabled), the resulting project item is a master clip rather than a subclip.
Merged Clips
Comment markers added to a merged clip get inserted to the component clips, but the Name & Comment entries are not saved.
Hang on right-clicking the current marker in a merged clip in certain circumstances.
Editing/Timeline
Crash on clicking the very bottom of clip in the Timeline and dragging to move the clip. [SubViewImpl.cpp-724]
Crash on Ripple Trim Previous Edit to Playhead for a clip group when that action completely deletes one of the component clips in the group. (TrackItemGroup.cpp-821)
Indefinite hang if sequence contains a QuickTime .mov with an unusual framerate and a CEA-708 caption track
Crash upon creating a sequence from a source with no frame rate specified (e.g., a title imported from a third-party-generated XML)
If a rendered-and-replaced clip has been trimmed, then Restore Unrendered can result in content being out of sync
Multicam
Audio is lost when flattening multicam sequences that were created with dual stereo movies.
If a multicam clip was created with Switch/mono and placed into stereo tracks, then flattening incorrectly maps the audio channels to stereo, with the right channel disabled.
Playing a multicam sequence in the Source Monitor can result in an unacceptable ratio of dropped frames.
Effects & Transitions
With Warp Stabilizer applied, Program Monitor shows only upper left corner of the frame, sometimes with alternating whole frames [GPU acceleration only]
Sub-pixel positioning is incorrect for non-linear alpha compositing [GPU acceleration only]
GPU transitions that depend on other layers cannot access those layers
Crash upon clicking outside the Direct Manipulation control for some effects.
Memory leak with certain third-party effects
Crash on clicking Setup button for some third-party transitions.
Loudness Radar' Track FX Editor intercepts keystrokes intended for editing titles (e.g., spacebar)
Crash (Pure Virtual Function Call) on adjusting parameters for some third-party effects.
Some third-party effects get frames from the wrong time in the clip.
UI/Workspaces
All open Project panels get reset to root upon switching between projects that use the same workspace.
The order of open Timelines sometimes gets jumbled upon closing and reopening the project.
Bezier handles for keyframe can be nearly invisible at default brightness.
Closing the Source Monitor when it's showing a scope (e.g., YC Waveform) crashes Premiere (error: CheckBoxControl.cpp-105)
HTML5 panels do not receive Tab events.
Redraw errors on maximizing an HTML5 panel.
Performance (Note: Most of these fixes are also listed under a product area)
In certain scenarios, performance is unacceptable when doing basic editing operations with waveforms displayed in the Timeline.
Scrubbing a growing file on an Xsan can result in very high bandwidth usage with some network configurations.
Playing a multicam sequence in the Source Monitor can result in an unacceptable ratio of dropped frames.
ProRes exports can be very slow when smart rendering.
Poor playback performance with certain third-party I/O hardware on OS X 10.9.

Just in case anyone is interested:
anyone else having PP crash after the 8.2 update? I keep getting the below error:
Faulting application name: Adobe Premiere Pro.exe, version: 8.2.0.65, time stamp: 0x5486db4a
Faulting module name: ntdll.dll, version: 6.1.7601.18247, time stamp: 0x521eaf24
Exception code: 0xc0000005
Fault offset: 0x0000000000052f86
Faulting process id: 0x2168
Faulting application start time: 0x01d019e6c12de352
Faulting application path: C:\Program Files\Adobe\Adobe Premiere Pro CC 2014\Adobe Premiere Pro.exe
Faulting module path: C:\Windows\SYSTEM32\ntdll.dll
Report Id: 8f518e38-85de-11e4-81e4-1cc1de338660
I trashed my preferences; rolled back to earlier versions of NVIDIA drivers; cleared out my cache; reinstalled PP 8.2, and uninstalled all 3rd party plugins... I still get the above error. I've since rolled back to 8.1 with no issues. I'd love to get 8.2 to work, since scrubbing thru Gh4 4k files was a lot smoother with this update.
Specs:
HP Z800 MC 8.2, Adobe CC 2014, Windows 7 Ultimate 64-bit SP1, 2 Hex Core X5650 @ 2.67GHz, 48Gigs Ram, NVidia Quadro K4000, Sandisk Extreme 240 gig SSD System drive, SATA 4 Tb (Raid 0) media drive, Sata 2 TB export drive , SSD 120GN for cache, 1 G-Tech 2tb Raid export/backup,1 4tb G-drive backup, Matrox MXO2 mini, 850 WATT PSU
in Premiere Pro • Reply • Like Show 0 Likes(0)

Premiere pro cc2014 bugs?

Hello
Has anyone updated Premier pro cc 2014 to the latest version. I havent touched it in ages because of all the bugs and constant crashing but im eager to return to several CC 2014 projects that I need to start using again.
Have the bugs been fixed is it worth using again?
Thanks
Philip

Here's a breakdown and he's the link to the original post. There's some feedback from other customers there: What's Fixed in Premiere Pro CC2014.2
As noted in the blog post for the 2014.2 release, while this update includes a few new features, it is chiefly geared toward addressing known issues. The blog post lists the higher profile fixes. Below is is a more comprehensive list.
Import
Red frames in MXF clips from a particular model of camera.
Cannot import ARRI Alexa Open Gate clips
Import fails for IMX 30 MXF clips stored on certain proprietary media asset management systems. Error: Unsupported format or damaged file.
Some XDCAM HD Proxy files show red frames
Some .VOB clips play only audio or shows media pending indefinitely
Premiere does not recognize timecode for audio-only MXF files written by some third-party programs.
Only the first frame of video plays for AVC-Intra50 MXF files stored on certain third-party media asset management systems.
Spanned DVCPRO clips have incomplete audio if an XMP file is present but no media cache/pek file are found.
Some metadata from an Adobe Clip project does not get correctly logged on import.
Exporting & Rendering
Rendering fails for MXF media with Posterize Time effect applied
ProRes exports can be very slow when smart rendering
Encoded output can include black frames, corrupted frames, or frames from elsewhere in the sequence
Canceling export to P2 can result in low-level exception if the sequence duration is greater than a few minutes
Aspect ratio for IMX 30 widescreen anamorphic encodes is incorrect.
Edit to Tape: Audio drops out while playing out to tape
The Height setting for encodes to the GoPro Cineform codec is constrained to multiples of 8.
Smart Rendering: GoPro 2.7K footage cannot be smart rendered
AAF
Distorted audio in AAF exports with 24 bit embed option selected.
If a multichannel sequence has been nested into 2 channel sequence, then an AAF export yields the number of channels in the nest rather than the 2-channel mix-down
Certain third-party programs have problems relinking to video with Premiere's AAF exports. (Windows only)
If the first of two adjacent audio clips has a Fade Out applied, exporting as AAF converts it to a Fade In onthe second clip. (Mac only)
When AAF exports are opened in some third party apps, audio crossfades are treated as cuts or fade-ins.
Crash during AAF export if a video clip has multiple effects applied.
When AAF exports are opened in some third party apps, some audio clips and tracks are incorrect.
Crash upon exporting to AAF with disabled clips that have cross fades applied
If a multicam sequence with mono audio is nested onto a stereo or adaptive track, then exporting to AAF yields a stereo clip with the audio panned fully to the left.
When AAF exports are opened in some third party apps, rendered audio of is relinked automatically, but the video needs to be manually linked.
Playback
If a UHD ProRes clip is in an SD sequence an scaled to less than 50%, then scaling is ignored during playback at Full Resolution [GPU acceleration only]
Poor playback performance with certain third-party I/O hardware on OS X 10.9.
Crash during playback of R3D content [CUDA GPU acceleration only]
Audio
Audio sync is lost with some XDCAM content wrapped in QuickTime reference movie
Audio sync is lost when user starts scrubbing during playback while using certain I/O hardware.
When playing past an audio transition, the sound sometimes surges and has pops/clicks introduced
Audio dropouts, and Events panel reports "audio dropouts detected." [Prefetch purge related]
Audio dropouts in some scenarios after releasing memory (e.g., cycling focus to another app)[Prefetch-related]
Shuttling for an extensive time can cause audio dropouts
Project
If current user does not have write access to certain folders, the crash error message is uninformative (Mac only)
In Adobe Anywhere, crash when using keyboard shortcut to open Convert Project to Production dialog or the New Production dialog.
If multiple clients on a network use the same media cache location, then upon importing a given asset each client writes its own accelerator files.
The Find features in the Project panel and Timeline cannot search by Korean characters.
In Search Bins, moving focus by keyboard from one clip to another can cause the tree view to expand to show the bin where the clip is stored.
Project Manager/Consolidate & Transcode
If the destination drive has insufficient space, Premiere throws an "unknown error" rather than an informative message.
Project Manager writes some clips outside of folders
Consolidate and Transcode does not warn the user if the destination drive has insufficient space.
Unknown error can result from using Consolidate & Transcode with P2 content in the sequence.
In some cases, Consolidate & Transcode copies and renames the component assets for merged clips.
If Exclude Unused Clips is deselected, the components for merged clips sometimes still get copied; if the option is selected, the presence of merged clips can yield Unknown Error.
If the sequence being transcoded contains overlapping "soft" subclips, then some clips may be missing from the sequence in the consolidated version, and In/Out points may be incorrect for the subclips.
If Exclude Unused Clips is turned off and the project being transcoded contains "soft" subclips, then the consolidated version of the project does not have transcoded copies of the subclips.
If a sequence contains only audio from an A/V clip, using Consolidate and Transcode to some presets will fail with unknown error
If the sequences being transcoded contains two copies of a master clip, one of which was the product of Duplicating or Copying/Pasting in Project panel, the consolidated version of the project has only one instance of the master clip.
If the project contains multiple master clips for the same asset and Interpret Footage is applied, then the consolidated version will have multiple transcoded copies of the source asset.
If the transcoded sequence contains a hard subclip (i.e., "Restrict Trims to Subclip Boundaries" enabled), the resulting project item is a master clip rather than a subclip.
Merged Clips
Comment markers added to a merged clip get inserted to the component clips, but the Name & Comment entries are not saved.
Hang on right-clicking the current marker in a merged clip in certain circumstances.
Editing/Timeline
Crash on clicking the very bottom of clip in the Timeline and dragging to move the clip. [SubViewImpl.cpp-724]
Crash on Ripple Trim Previous Edit to Playhead for a clip group when that action completely deletes one of the component clips in the group. (TrackItemGroup.cpp-821)
Indefinite hang if sequence contains a QuickTime .mov with an unusual framerate and a CEA-708 caption track
Crash upon creating a sequence from a source with no frame rate specified (e.g., a title imported from a third-party-generated XML)
If a rendered-and-replaced clip has been trimmed, then Restore Unrendered can result in content being out of sync
Multicam
Audio is lost when flattening multicam sequences that were created with dual stereo movies.
If a multicam clip was created with Switch/mono and placed into stereo tracks, then flattening incorrectly maps the audio channels to stereo, with the right channel disabled.
Playing a multicam sequence in the Source Monitor can result in an unacceptable ratio of dropped frames.
Effects & Transitions
With Warp Stabilizer applied, Program Monitor shows only upper left corner of the frame, sometimes with alternating whole frames [GPU acceleration only]
Sub-pixel positioning is incorrect for non-linear alpha compositing [GPU acceleration only]
GPU transitions that depend on other layers cannot access those layers
Crash upon clicking outside the Direct Manipulation control for some effects.
Memory leak with certain third-party effects
Crash on clicking Setup button for some third-party transitions.
Loudness Radar' Track FX Editor intercepts keystrokes intended for editing titles (e.g., spacebar)
Crash (Pure Virtual Function Call) on adjusting parameters for some third-party effects.
Some third-party effects get frames from the wrong time in the clip.
UI/Workspaces
All open Project panels get reset to root upon switching between projects that use the same workspace.
The order of open Timelines sometimes gets jumbled upon closing and reopening the project.
Bezier handles for keyframe can be nearly invisible at default brightness.
Closing the Source Monitor when it's showing a scope (e.g., YC Waveform) crashes Premiere (error: CheckBoxControl.cpp-105)
HTML5 panels do not receive Tab events.
Redraw errors on maximizing an HTML5 panel.
Performance (Note: Most of these fixes are also listed under a product area)
In certain scenarios, performance is unacceptable when doing basic editing operations with waveforms displayed in the Timeline.
Scrubbing a growing file on an Xsan can result in very high bandwidth usage with some network configurations.
Playing a multicam sequence in the Source Monitor can result in an unacceptable ratio of dropped frames.
ProRes exports can be very slow when smart rendering.
Poor playback performance with certain third-party I/O hardware on OS X 10.9.

Gimp Newbie Needs Basic Instructions in Formatting Stills for FCP

Sorry if this is redundant or too basic for the forum, but I'm new to Gimp (and honestly, photo editing in general) and need some basics. Tutorials, links, etc appreciated.
My question... In Photoshop, I can select a pixel aspect ratio that gives me the option of DV, widescreen, anamorphic, and others. Is there a similar feature in Gimp? If not, is there a process that you are using to prepare high resolution still photos for importing into FCP?
G5 Mac OS X (10.4.2)

*** is Gimp?
Anyway, I don't prepare hi-res, medium-res or even low-res photos for FCP. I import them and drop 'em on the Timeline (FCP will automatically scale them to Sequence and correct pixel aspect). Once I have them in FCP I can see how they look on an external TV monitor. After viewing them there, if they need any PS adjustments, I right-click on it in the Timeline and choose "Open in Editor" (Photoshop is set as my default still image editor in FCP preferences).
If adjustments are needed, it's typically rotation, contrast*, color balance*, fixing areas of the image that might cause morie patterns on a TV, etc. When I'm done in PS, I save the changes and close the image and jump back over to FCP where the changes were automatically updated to the image on the Timeline.
-DH
* = can also be done right in FCP with the 3-Way Color Corrector

Best Video Format, Bitrate & Resolution for X-Fi2

I recently got my X-Fi2 and I want to watch videos at full quality on the screen at the lowest possible file size to maintain plenty of room for other stuff like music or more films, so before I start converting films, would anyone recommend the best conversion settings to do this (highest bitrate before you start to notice no quality difference, same goes for resolution)

So far I haven't even been able to get Creative's converter to work. It crashes whenever I attempt to convert a file. (So, those of you who wonder why on earth we'd even think of not using Creative's software, well... without mincing words: It's pretty much crap at this point.)
After some tinkering and a few initial crashes (grrrr.....) I've managed to get Creative Centrale to successfully rip the main movie file off several DVDs in what appears to be a nice quality .mpg2 format.
I use Format Factory (a free video conversion app) to convert these 5 to 6 GB files to a managable size for the Zen X-Fi2.
So far, the format that seems to play the best and smoothest is an AVI file with MPEG4 compression using the DivX codec. (I'm not very audio/visually literate, so I hope I'm explaining this correctly...) Basically an .avi file with MPEG4(DivX) encoding.
Though the Zen X-Fi2 has a widescreen, it seems to default any 640x480 or 320x240 files (with no internal widescreen/anamorphic tags) to the center of the screen - like 4:3 television on a 6:9 set. That basically means any widescreen files saved in this format may end up having black empty space all the way around on the top, bottom, left, AND right.
So, saving the above (widescreen) ripped DVD files to a 480x272 size works out really well. (Or 640x364 if you want a little higher resolution for when you connect your player to a TV.) This ensure the movie will fill the screen from left to right and leave black bars only at the top and bottom for those big, theatrical widescreen movies. (2.35: ratio or whatever...)
I also noticed that the file size difference from the lower to higher resolution is almost neglible. (Did this with my Lord of the Rings Extended Edition DVDs.)
The first time I converted The Fellowship of the Ring (Disc ), I used a video bitrate transfer of 52 KB/s. The size of the file was about 460 MB. It worked, but there was a fair amount of "pixelly" video and artifacting. I tried again using 024 KB/s for the video stream transfer and the video looks really, really nice. The final size was close to 890 MB and 640x364 resolution. I tried one more time at that same bitrate, but lowered the resolution way down to 400x228 and the size was of the new file was still 840 MB. So, the video bitrate transfer has a much heavier influence on the size and quality than the choice of resolution.
So, my personal recommendations for nice quality videos on your Zen X-Fi2:
.avi file, encoded as MPEG4(DivX)
640x364 (or even 480x272) -- only about 40 or 50 MB of difference in file size here)
024 video bitrate transfer (768 or even 52 if you don't mind some artifacting and blockiness and would rather have smaller files)
24 fps
28 KB/s audio bitrate (for nice sound)
2 audio channels
All this from a guy who's just figuring this out as he goes along...

Photoshop File Dimensions

Hey Kids...
Quick question I should know the answer to but don't.
Client sent me a logo for their film that I redid in Photoshop CS 4 - but when I brought it in to FCP it was squished. I thought (foolishly or not) that the newer versions compensated for pixel differences...then I looked again at the menu for film and video and there are all sorts of size options that are baffling me.
So...to my question...what do I need to do in Photoshop to get the logo into FCP (standard def widescreen (anamorphic) sequence)?
Thanks
MS
Message was edited by: Moving Still

Double click the logo clip on the Timeline to place it in the Viewer.
Click the Motion tab at the top of the Viewer. Open the parameters for Distortion.
You will see that it is set to something other than zero.
Set the Distortion value to zero then use the Scale parameter and resize to taste.

Can regular 4:3 TV handle 16:9 DVD's

Hi.
I'm having an argument about widescreen/anamorphic/16:9 (whatever you want to call it, isn't it all the same thing).
I burned a 16:9 DVD with DVD Studio Pro and played it on the TV. He sais, that since there are black bars, that it isn't true widescreen, but letterbox.

The video is being letterboxed by the DVD-player. Enter the DVD-player menu, and set it to play as if it was connected to a 16:9 set. You will then see the anamorphic video on the 4:3 set.

Import 16:9 MiniDV tape

I am trying to create a 16:9 format DVD and am getting very poor picture results.
I am using a 3 CCD camera, Sony TRV 950. I set the camera menu to 16:9. When I import the video into iMovie 6 the picture looks distorted at first because it appears in a 4:3 frame. At the end it goes through the automatic letter boxing process but now the picure looks distorted again because it is wider than the 16:9 format, like a widescreen DVD (anamorphic?).
The final result looks like a 4:3 format DVD with black stripes on the top and bottom, not like a native 16:9 movie. The picture looks very grainy and not as good as when I have both camera and iMovie set to 4:3.
What am I not doing right? Any suggestions? Thanks for you help.
Rainer
15 inch PowerBook G4 1GHz Mac OS X (10.4.5)

If you uncheck the letterboxing option the picture
will look distorted in iMovie but will look right and
fill the 16:9 screen. On a regular 4:3 TV you loose
part of the picture on either side.
Am I right? If so such an explanation could be added
to the iMovie help section to clarify this point. I
am using iDVD.
I am trying to figure out the same thing. I made an experimental DVD with letterboxing unchecked during import to iMovie. I made the DVD using iDVD, and it made an anamorphic picture that looked great on the 16:9 TV (that stretched the image correctly).
However, the DVD would not play right on a standard 4:3 TV; it just looked distorted (squeezed). I could not get either of my DVD players to play it correctly on a 4:3 TV.
So, I think iMovie and iDVD just passed the anamorphic image through as if it were an regular 4:3 image. My HD TV can stretch it, but the DVD player thinks it is a normal 4:3 image.
I suspect that some flag should be set somewhere on the DVD indicating that the DVD is anamorphic so that the DVD player knows to letterbox it when connected to a 4:3 TV and not letterbox it when connected to a 16:9 TV.
So, I also would like to know how to use iMovie and iDVD to create a widescreen anamorphic video from and 16:9 camera that will play properly on both a 16:9 and a 4:3 TV.
As far as I can tell, if you shoot in widescreen, you can make a DVD that will play on a 16:9 TV. But to play it on a 4:3 TV, you have to reimport it from the camera to iMovie and letterbox it. If you want both, you have to go through the whole process twice and have DVDs for each kind of TV.
As you said, a non-amorphic letterboxed DVD expanded to fill a 16:9 TV creates a pretty poor picture.
I've been poking around the iMovie website looking for answers with no luck. Maybe iDVD has some option to create a proper widescreen DVD.
I'm using iLife 06 - latest versions.
Terry
MacBook Pro Mac OS X (10.4.6) PowerPC G4, PowerPC G5
MacBook Pro Mac OS X (10.4.6)

Widescreen/anamorphic

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