4-3 to 16-9

[David Roth weiss]

Its more work for the editor that way and, because its non-standard it may appear that its a mistake on your part. You can do it that way, but this business runs on standards for good reason.

David Roth Weiss
Director/Editor
David Weiss Productions, Inc.
Los Angeles

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[Robin Probyn]

OK thanks

So what is the best way to shoot 16-9,with a 4-3 camera?

Thanks again

[Walter Biscardi]

As long as you are consistent in what you do AND you inform the editor of exactly what you were doing, this should work just fine.

With a fast editing system, this can be done in realtime. The most important thing for you is to be consistent with your framing so the editor can just create a few presets to just move bunches of clips all at once and then throw a widescreen mask over the whole thing.

If the editor has to manually reposition each and every shot, you better move a nice offshore location with absolutely no phone service. 🙂

Walter Biscardi, Jr.
Biscardi Creative Media
HD and SD Production for Broadcast and Independent Productions.

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[Robin Probyn]

Hi Walter

Ok good,thats sort of what I thought could be done.And ofcourse I would let the editor know.
Why would David think this wouldnt be a good idea?

So is the process that the footage would be edited,and then a mask put over right at the end?

Trying to get to speak to the editor,dont know if he/she has done this before,I might have to explain my corner!!

Thanks

[Walter Biscardi]

[Robin Probyn] “Why would David think this wouldnt be a good idea?”

Because it’s not a great way to do this. Ideally you center up your image and we simply place a widescreen mask on the image or you shoot anamorphic for 16:9 widescreen.

I would never recommend your technique to anyone, but if this is the way you want to do and you’re consistent, it can be done.

Walter Biscardi, Jr.
Biscardi Creative Media
HD and SD Production for Broadcast and Independent Productions.

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[Robin Probyn]

Ah Ok.

I wasnt in anyway second guessing David,what I know about FCP could be written on a postage stamp 🙂

It just seemed a better way,as at least I would know one frame line,instead of neither.

Is it the positioning of the mask that is the problem,as opposed to leaving room top and bottom? Or what Iam trying to ask is,is it in some way a real pain for the editor.

Thanks again

[Walter Biscardi]

[Robin Probyn] “Is it the positioning of the mask that is the problem,as opposed to leaving room top and bottom? Or what Iam trying to ask is,is it in some way a real pain for the editor.”

No, the mask will remain constant, it will be the positioning of the video inside that mask that will be a real pain for the editor if you’re not consistent with what you’re doing. All of the video will have to be positioned since you are going to frame off an outer edge. If you do this consistently, the editor can move one clip, then apply that movement to the entire timeline very easily.

If you are not consistent, the editor will have to tweak the position of each and every shot. THAT is a tremendous pain depending on how long the project is. Personally, I would rather you shoot anamorphic.

Walter Biscardi, Jr.
Biscardi Creative Media
HD and SD Production for Broadcast and Independent Productions.

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[Robin Probyn]

Hi Walter

Sorry to bang on about this!!

So if Iam consistent with my framing,ie the top being the top,its no problem for the editor,just as easy as framing top and bottom out.

They would make a mask for one clip,and then apply that mask for all the footage,easy and quick?

Or I would need an anamorphic lens for the betasp camera? wouldnt want to have a heavy bulky attachment,or would that be the only way to go.

Thanks

[Walter Biscardi]

[Robin Probyn] ”
They would make a mask for one clip,and then apply that mask for all the footage,easy and quick?”

No, the mask is applied to the entire timeline over the video clips. The position of the first clip is copied and applied to all the rest of the clips.

[Robin Probyn] ”
Or I would need an anamorphic lens for the betasp camera? wouldnt want to have a heavy bulky attachment,or would that be the only way to go.”

If you do this, there will be no cropping involved, you’ll shoot full frame.

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!

Read my Blog!

[Robin Probyn]

Hi there

No, the mask is applied to the entire timeline over the video clips.

Can you explain this in layman,s terms… sorry.

To go anamorphic would mean using an attachment to the lens?

Thanks again