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HD 4:3 Master
Hi All
I have been asked to prepare a HD 4:3 master for TV. My plan is to cover the edges with a black matte to create a 4:3 image inside the 16:9 screen. I think this is called pillar boxing. Within this box i will move the image as much as it is needed so the action stays visible aka pan and scan. Is this a correct way to do things?
cheers
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16 Replies
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Honestly have never heard of an HD 4:3 master. Is this for a corporate or special event screening?
Walter Biscardi, Jr.
Biscardi Creative Media
HD and SD Production for Broadcast and Independent Productions.STOP STARING AND START GRADING WITH APPLE COLOR
The new Color Training DVD now available from the Creative Cow! -
I’m with Walter, I have not heard of 4:3 HD. Part of the definition of HD is 16:9.
Shane
Littlefrog PostGETTING ORGANIZED WITH FINAL CUT PRO DVD now for sale!
http://www.lfhd.net -
I’m totally with u guys on this basically i have been told it is for the down convert to 4:3 from 16:9 this way by looking at the HD master the TV network can know what will be included in the final 4:3 version. Or in other words so when u sell ur film and give them deliverables they dont have to pay for the pan & scan process. I just spoke with a guy who has done it before and he confirmed it was an outdated process but still a necessary deliverable…
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Sorry man. Sounds terrible, El Terrible, but it makes sense I guess.
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[Liam El Terrible] “just spoke with a guy who has done it before and he confirmed it was an outdated process but still a necessary deliverable…”
Way outdated for sure. The method you described originally I guess is the way to handle this.
Seems to me the network should be able to simply watch the downconverted signal OR you just give them an SD version of the show center punched.
Walter Biscardi, Jr.
Biscardi Creative Media
HD and SD Production for Broadcast and Independent Productions.STOP STARING AND START GRADING WITH APPLE COLOR
The new Color Training DVD now available from the Creative Cow! -
Yep. pillarboxed HD. Sometimes we transfer full aperture 35mm to HD this way so we get the entire film frame (which is 4:3 by nature). So you have side mattes on your 1080 frame with a square picture the middle.
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Exactly! thats how i worked out where my matte should go by watching the down convert via the Kona with edge crop. Wouldn’t u know it the mattes left and right points were -720 and 720…Luckily i only had to move 6 shots and the opening titles of the feature and then tonight i will render out the whole timeline. Thx for the quick response guys and making me feel like i’m not going crazy.
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Ah thx Charlie it all makes sense now…cheers
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[CharlieX] “Yep. pillarboxed HD. Sometimes we transfer full aperture 35mm to HD this way so we get the entire film frame (which is 4:3 by nature). So you have side mattes on your 1080 frame with a square picture the middle.”
Same for 16mm film… Super-16 doesn’t have this issue, but regular 16 does. An alternative to the 1080 frame with 4×3 in the middle is to go 720 and blow up the frame until the sides fill the frame, then you adjust picture on the y-axis to reframe as needed.
David Roth Weiss
Director/Editor
David Weiss Productions, Inc.
Los AngelesPOST-PRODUCTION WITHOUT THE USUAL INSANITY™
A forum host of Creative COW’s Business & Marketing, and Indie Film & Documentary forums.
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4×3 HD master – in addition to 16:9 HD master – is standard on all distribution deliverable lists I’ve seen for long form projects.
Mostly – I’m told – it’s to have a backup HD in case another full frame standard-def downconvert is needed down the road so they don’t have to do an entire pan and scan session. Also, they still do full-frame DVD that are mastered from HD. Check your local video rental place and they still have 4×3 DVD’s on the shelves.
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DK Davis / Editor/ Post Super
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