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Corporate Video has to be in 4:3 ??
Ok so I was shooting another coporate yesterday
and my lighting guy was telling me they are almost always given to clients in 4:3 finished format. IS this generally true?
Because until now, I have been giving them 16:9 DVD’s and no complaints.
However, I was wondering if its possible to have both?
Can DVD studio pro format a DVD so it will play on 16:9 TVs, or play in a letterbox on a 4:3 TV??
If I DO need to resize my 16:9 HDV image to 4:3, what is the best way to do this?
I tried changing the sequence settings, but if I change the frame size of the sequence, it doesnt give me a 4:3 canvas, it just shrinks the resolution I think of my 16:9 images, but it remains in widescreen format.
please help?
Thanks very much for any help, much appreciated!
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12 Replies
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Go to a Best Buy and try to buy a 4:3 TV. I have been producing all corporate (and now TV spots) in 16:9.
Unless the client asks for 4:3 (and they don’t) I would stick with 16:9. Of course I try to shoot with 4:3 in mind just in case (Never been an issue) And progressive is also the way to go. Most corporate clients are playing files or DVD’s in laptops.Mike Schrengohst
http://www.MotionZoneHD.com -
[Josh Evans] “Can DVD studio pro format a DVD so it will play on 16:9 TVs, or play in a letterbox on a 4:3 TV??”
If you have set up the DVD studio project to be 16:9 you don’t have to worry about this. If the DVD player is set up correctly it will automatically letterbox 16:9 content to fit a 4:3 TV. You can simulate this in DVD Studio by selecting a 4:3 Display Mode in the simulator window.
[Josh Evans] “If I DO need to resize my 16:9 HDV image to 4:3, what is the best way to do this?
I tried changing the sequence settings, but if I change the frame size of the sequence, it doesnt give me a 4:3 canvas, it just shrinks the resolution I think of my 16:9 images, but it remains in widescreen format.”
Create a new sequence with the correct 4:3 settings and drag your 16:9 sequence into the new seq. FCP will automatically downscale your 16:9 sequence to fit the entire width of the 16:9 images, letterboxing your video. If you don’t want it to be letterboxed you have to scale the image up to fill the entire height of the 4:3 image, but this will clip the sides off from for video (aka. ‘pan and scan’).
If your clients are happy the way things have been delivered so far then everything seems to be fine. But if you want to make sure, ask them. You might create a problem where there were none, but at least you give them the option to decide.
/Stephan
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Thanks very much.
When you say progressive is the way to go, I have a Sony V1P.
it has a 25p function, do you mean I should be using that?
I normally shoot in 108050i. I dont think there is a 50 fps progressive option, only a 25p one. Should I use this?
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There are some really great tips in your reply, thanks very much for that.
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compressor is for changing formats
if you need to down convert and make progressive and take 16.9 to 4.3 then look to frame controls and geometry tabs
I have a little on it in podcast
compressor will always give better results than final cut pros open format timeline and so this is why I strongly suggest you use it
alternatively if you are going HDV then a blackmagic or kona card can downconvert on the fly and back to SD tape
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or my site at
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[Josh Evans] “When you say progressive is the way to go, I have a Sony V1P.
it has a 25p function, do you mean I should be using that? “
Not if your clients are playing the footage back on TV’s. I’ve yet to have a single client play back anything on a laptop, they’re all playing it back via TV’s, Plasma Screens and television projectors in a large venue.
Unless the client specifies progressive, do not change anything. What you’re doing is just fine.
Walter Biscardi, Jr.
Biscardi Creative Media
HD and SD Production for Broadcast and Independent Productions.STOP STARING AND START GRADING WITH APPLE COLOR Apple Color Training DVD available now!
Read my Blog!
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[Mike Schrengohst] “And progressive is also the way to go. Most corporate clients are playing files or DVD’s in laptops. “
The client should always dictate this, one should never assume anything.
Walter Biscardi, Jr.
Biscardi Creative Media
HD and SD Production for Broadcast and Independent Productions.STOP STARING AND START GRADING WITH APPLE COLOR Apple Color Training DVD available now!
Read my Blog!
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In the corporate world the client is usually focused on the message and not the medium. The client looks to me for expertise. 99% of the corporate clients I work with don’t know the difference between 24p and 60i. I stopped shooting interlaced a few years ago. I don’t do TV shows and perhaps it is a different delivery. The user asked about corporate and that is what I know. I know for a fact in all of my accounts they do not view DVD’s on 4:3 sets any longer. I know for a fact that all the web files a create are either 24p or 30p. I do know for a fact that when we were still shooting with BetaSP (4:3 60i) I was de-interlacing the files that would be used on the web because users were watching on laptops or computer screens and did not like the interlaced artifacts. The only reason I might shoot 30p is if the client might be using footage for TV spots. For TV spots I now prefer shooting with the RED anyway.
Mike Schrengohst
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Josh,
If you make a DVD 16×9 in DVDSP, it will play that way on a widescreen TV and it will letterbox automatically on a 4×3 TV.
Have a wonderful day.
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That is most of the time. I have a DVD player that will not letterbox. I have looked at every setting and I finally replaced the 32″ 4:3 with a 42″ 16:9 LCD anyway. I liked this DVD player because it had a 5.1 surround system. When I bought it most DVD’s were 4:3 and through the years most DVD’s are now 16:9 wihout a “full-screen” option. Every other DVD player I have will letterbox if shown on a 4:3 set.
Now I am working with clients that want Blu-Ray so here we go again.
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