AVC-Intra Footage coming in as 1280 x 720

[Rafael Amador]

Hi Kiran,
I don’t work with that format, but I understand that they shot with the wrong in camera setting.
If you are delivering in 1920×1080, makes no sense to shoot 1280×720 when the 1920×1080 option was available.
rafael

http://www.nagavideo.com

[Kiran Goldman]

Hi Rafael,

Thanks for your reply. I’m bringing the clips in as Apple Pro Res Proxy, but they are still coming in as 1280 x 720. Is the only way to deal with them to put them through compressor to get the clips as 1920 x 1080 or is there something I can do when I am logging and transferring them to convert them to 1920 x 1080?

Thanks again!
Kiran

[Shane Ross]

If you shot 1280×720…then FCP brings the footage in as 1280×720. If you wanted 1080, you need to shoot 1080. THis is ALWAYS the case. FCP will bring in the footage in the format in which it was shot. Yes, you can use Compressor, or the Media Manager, to convert to 1080p, but it won’t look as good as if you shot it 1080. Just know that. But it is workable.

Scold your DP.

Shane

GETTING ORGANIZED WITH FINAL CUT PRO DVD…don’t miss it.
Read my blog, Little Frog in High Def

[Rafael Amador]

Hi Kiram,
The best solution, I think, would be to play the clips from camera and upscale while capturing through an AJA or so.
If you have to do it by software, make a test comparing the results of your available options.
Your best options within FCS are Compressor and Motion, this one using the “Lanczos” filter.
rafael

http://www.nagavideo.com

[Steve Eisen]

[Kiran Goldman] “Should the DP have shot it as 1080p since we want it to be 1920 x 1080?”

That would be a question for the DP, not the people answering in this forum and the P2 forum.

Steve Eisen
Eisen Video Productions
Vice President
Chicago Final Cut Pro Users Group

[Walter Biscardi]

[Kiran Goldman] “Thanks for your reply. I’m bringing the clips in as Apple Pro Res Proxy, but they are still coming in as 1280 x 720. Is the only way to deal with them to put them through compressor to get the clips as 1920 x 1080 or is there something I can do when I am logging and transferring them to convert them to 1920 x 1080?”

Then your cameraman shot the footage in 720p. Quite honestly this is my preferred format for production.

This is why many of us use capture cards such as the AJA Kona boards. In your case, I would edit the entire project in 720p and then simply output it to 1080 in realtime at the end of the project. The Kona board does a realtime 720 to 1080 conversion so there’s no need to go to Compressor or anything else like that.

This was our Post process for “Good Eats” on the Food Network. They shot everything in 720 / 30, we did the edit in 720 / 60 and once the show was done, converted it to 1080 / 60i in realtime as it was laid down to tape.

Walter Biscardi, Jr.
Editor, Colorist, Director, Writer, Consultant, Author, Chef.
HD Post and Production
Biscardi Creative Media

“Foul Water, Fiery Serpent” Winner, Best Documentary, LA Reel Film Festival.

Blog Twitter Facebook