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Anamorphic DV
I have some problem understanding this…
As I understand, widescreen DV(PAL) is resolution 720×576, but with different pixel shape than the 4:3 mode.
So, if somebody is shooting with DV camera in widescreen mode what is he really getting? Is his picture wider or is just his vertical size smaller?
When I edit that footage in FCP in widescreen (DV PAL anamorphic) mode and than make widescreen DVD, I guess it will look normal if DVD read it as anamorphic. But what happened if I have to send it to TV station? What settings should I use to export it to tape (e.g. Beta SP) and how will the footage be displayed on TV?Tnx
MMac: Quad 2.5 + OS 10.4.6 + Final Cut Studio HD + Multibridge Extreme + Sony DVW-M2000P
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8 Replies
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You have to make a note on your master tape that it is 16:9.
The TV station will notice that it’s anamorphic 16:9 and they
will broadcast it with a special coding. The TV will recognize
it and add letterbox to a 4:3 device or deskew for 16:9 … -
Truth. Many TV stations do not accept annamorphic, because they know they risk to broadcat it unproperly. So to avoid problems they preffer you just to stick your beautyful 16×9 on top of a 4×3 black.
Salud,
rafael -
Depends where you are. Here in the UK anamorphic delivery for broadcast has been the standard for around the last 10 years and a letterboxed version would be rejected.
Martin
Digital Heaven, London UK
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[Dave LaRonde] “Neither of the above: he loses no vertical size, but when the picture is played back on something that is not set for anamorphic video, the picture looks like it’s squeezed horizontally.”
ah yes… I guess I wasn’t clear enough about this. What I ment is: what is the difference between filming in 4:3 and 16:9 mode on DV cameras? Since there’s no lense changing I’m wondering how it’s done?
Mac: Quad 2.5 + OS 10.4.6 + Final Cut Studio HD + Multibridge Extreme + Sony DVW-M2000P
PC: Xeon 3.00GHz + Premiere Pro 1.5 + Decklink Extreme + Sony UVW-1800p + Sony HVR-M10E -
In most DV cameras the image is squeezed horizontally to make it anamorphic. The image is still 4:3, just squeezed. You have to tell the application it’s anamorphic to for it digitally spread the horizontal resolution.
All the best,
Tom
Author: “Final Cut Pro 5 Editing Essentials” and “Final Cut Express 2 Editing Workshop” Class on Demand “Complete Training for FCP5” and “Final Cut Express Made Easy” DVDs
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I’m just doing a 16:9 tv program but I give to the tv people in 4:3 letterbox…
they told us that it was easier to broadcast because not too many people have widescreen TV sets…
well I see a lot of them around…
Mexico is a little behind in some parts, and the TV station well it not state of the art, yet…
betcha TELEVISA and TV AZTECA, they sure can broadcast in 4:3 and in 16:9…Hello from Mexico….
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Hola Daniel,
I don’t know much about the new TV distribution systems (Cable, satelites, etc) but with PAL and NTSC, if you brodcast a 16×9 programm, only the people that have TV sets where you can select the aspect (4×3,16×9) could see properly the image. The people who can only watch in 4×3 would see the image distorted. So the TV stations must broadcast programms tha has been already letterboxed when formating the film, or have to letterboxe in the studio, right before broadcasting.
In my country, like in Mexico, they just prefers letterboxed, because like that don’t risk to forget the right set-up when airing the film.
Salud,
Rafael -
yes, indeed Rafael, that was the same thing we came up with, when deciding about the letterbox option, it was the best thing to do, so more people see it the way we intended, even if it was letterboxed…
saludos
Hello from Mexico….
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