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Converting 16×9 footage to 4×3 center punch output
I’m looking for information on a program or plugin for FCP HD so that I can covert footage that was shot in 16×9 and edit in 4×3 center punch (meaning crop out the edges). We’d like to begin shooting in 16×9 so that when we finally move to HD our previous field footage will be 16×9. I’m trying to find a software solution to this because we use the new Sony XDCAM system, so I will no longer have to digitize my footage but rather import the files. And I need to find a cost effective solution to this.
While at NAB, I did find that Miranda can build a ARC for us but its about $6000. I’m on a small budget so that’s not an option. Please help!
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Wayne Carey
Schazam Productions -
7 Replies
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If you purchase a Kona 2 (about $2,000) you can capture and edit in HD, then downconvert in realtime to SD. You have the option of Letterbox, Center or Pan and Scan on the way out via SDI and Component.
What I would do in this situtation is simply edit your entire timeline in a native HD timeline. Then duplicate that timeline for SD color correction. View your timeline output via the Kona 2 in downconverted SD and do your color correction in that timeline. This preserves your original HD timeline “as is” for color correcting later for HD. HD gives you MUCH more latitude on colors and it’s nice to take advantage of that.
Walter Biscardi, Jr.
Creative Genius, Biscardi Creative Media
https://www.biscardicreative.comNow in Production, “The Rough Cut,” https://www.theroughcutmovie.com
“I reject your reality and substitute my own!” – Adam Savage, Mythbusters
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Thanks, Walter! But I want to say that I’m shooting in SD video at 16×9, not HD. Can I still do this with the Kona2?
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[Wayne Carey] “Thanks, Walter! But I want to say that I’m shooting in SD video at 16×9, not HD. Can I still do this with the Kona2?”
Just be sure to shoot anamorphic and not letterboxed and I don’t see why it wouldn’t work, but that’s not something I’ve tried. Send an email to AJA tech support and tell them what you’re trying to do. I’m sure you’ll get a pretty quick response as they are just a great company to work with. http://www.aja.com
Walter Biscardi, Jr.
Creative Genius, Biscardi Creative Media
https://www.biscardicreative.comNow in Production, “The Rough Cut,” https://www.theroughcutmovie.com
“I reject your reality and substitute my own!” – Adam Savage, Mythbusters
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Thanks, Walter. I really value your knowledge and expertise on subjects such as this.
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Would it not be easier to drop the anamorphic footage into a 4:3 timeline then adjust the scale to 133% ?
If the maths is right (don’t bank on it), it should go back, pixel to pixel.Most of my time is going the other way, 4:3 to 16:9 which is just a 133% scale and then adjust up or down as not to clip heads off etc. Plays in real time too.
I can’t prove the workflow thanks to the ATI X800 killing one of my G5s! Back to The 6800 and Final Touch can wait.
Peter
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I don’t know why everybody is having such a hard time grasping this center crop issue with 16×9 footage. I you use Peter’s method you get a soft image due to the blow-up. Not acceptable. I’ve asked AJA many times to include a SD aspect ratio conversion option in the Kona2. We’ll see if they add this in the future for SD.
I’ve done dozens of shows where we had do deliver both a 16×9 master and a 4:3 master. Since I was dealing with over 18 hours of finished programming I went with a hardware converter from Eyeheight. the model is the SQ-500. This is an all SDI solution that works great. This box is idiot proof. It does just about any type of conversion you want. Their tech support staff it top notch. These hardware boxes are a bit pricey, but well worth it. You can check around in your area if you just want to rent one.If you want to do this the poor-mans method in FCP then just nest your show into another 16×9 sequence, open up the Motion tab for the sequence and use the Distort tool to adjust the Vertical parameters of the clip. By doing this you get a pixel to pixel adjustment on the vertical scale which doesn’t add a blow-up. So, if you were working with DV (720×480) material you would adjust the fist column of numbers in the Distort window to -480, 480, 480, -480. Done. Perfect 4:3 with no image degradation. I could be slightly off on the calculation of the 480 number. If someone would like to figure out the exact number, if I’m the least bit off I would love to hear it.
Michael Alberts
Ambidextrous Productions, Inc. -
Doesn’t scale & distort concatenate?
As I said, get the maths right and don’t go off pixel.
Peter
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