• Apple Final Cut Pro Legacy

  Scaling 1280X1080 to 1920X1080 for broadcast. Shaky Image-Need assistance ASAP!

  Posted by John Broadwater on March 2, 2012 at 6:54 am

  Hello,

  I’m having issues with shaky playback after scaling up an image for broadcast.

  I shot a commercial using a Panasonic HVX-200 at 1080i/30p for broadcast distribution.

  At 1080i/30p on the HVX recording at DVCPROHD, the image recorded is 1280X1080.
  The stream type requested by the Broadcast FTP for 1080i broadcast is:
  1920X1080 60i.

  Using FCP, my sequence settings are:
  Frame Size to 1920X1080 using the HDTV(16:9) Aspect Ratio
  Px Aspect:Square for ATSC standards
  Upper Field Dominant

  I scaled the images to fit the screen/aspect ratio, etc. and they playback in the timeline in FCP.

  I then export to Compressor and under Video Options for an h.264 codec: I selected on frame controls:
  Resize: Best
  Output:Top
  Deinterlace:Best

  Still Shaky

  Did the same thing with Apple Pro Res 422 codec, checked interlace, still shaky.

  Should I export using H.264, MPEG 2, or Apple Pro Ress 422 and what keyframe settings should I set it to to avoid shakiness. Project contains 1 lower third graphics.

  I uploaded it to the FTP and it was rejected for using a distorted pixel aspect ratio of .6667 (1280X1080)

  Jeff Meyer replied 14 years, 6 months ago 2 Members · 1 Reply
• 1 Reply

• 

  Jeff Meyer

  March 3, 2012 at 7:09 am

  Your Final Cut Pro timeline should either 100% match your source media or 100% match the specs the network provided for the file you deliver. If it matches the source media you should export from Final Cut at “Current Settings” and transcode in Compressor to create the deliverable.

  Since you’re working with a timeline that doesn’t match your media you can use the Modify -> Conform to Sequence menu setting to adjust your media to fit the timeline, no guesswork required.

  When you have the specs the network provided for delivery we can help you get the rest of the way there, but lacking those specs we’re shooting in the dark.

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