Can I convert my film’s aspect ratio from 4X3 to 16X9 using FCP 6.0.6 to then export a self-contained QT file?

[Donia Mili]

Thanks for your help Nick.

It is becoming clear I need to write to the distributor and ask them for their delivery specs as you, Dave and Rafael reflected.

More to come,

Donia

Donia

[Donia Mili]

Firstly, let me thank you all for your time investment and your professional advice… I truly appreciate the solidarity.

I just wrote to Nick Meyers that following Dave’s, Rafael’s and his advice, I need to write to the distributor today and go over their delivery specs. As for Itunes’specs, they are the most demanding, and the ones I will have to leave out unless a new solution comes up.

In the meantime, I just found in the huge folder (I’m not big on paper work!) from the distributor, their technical sheet and some additional recommendations for Itunes. I should have looked more closely into the folder they sent me, but their technical lady was keeping in touch with me about the encoding process, and so I assumed everything would work out through her.

SD Source
NTSC
QuickTime

Frame Size: 720×486 or 720×480
Frame Rate: 29.97 or 23.98
Codecs: Apple ProRes 422 (HQ)
10 bit Uncompressed 4:2:2
8 bit Uncompressed 4:2:2

Audio: Stereo: LPCM in either Big Endian or Little Endian,
16-bit or 24-bit, at least 48kHz
Surround: Expected channels: L, R, C, LFE, Ls, Rs, LtRt

My film is a narrative documentary, shot in SD 4:3, edited in 4:3 aspect ratio, with archival footage, super 8 shots and 5.1 surround sound.
I pasted below the list of additional points for Itunes, to show that encoding my film for most of these internet platforms is no easy task. And I have not even touched on the subtitles’ issue! I already warned them that I am not even going to go there, I’ve paid my dues already!

Additional points:
1. Severe or noticeable audio-pops
2. Severe interlacing or ghosting in the frames, images or subtitles
3. Severe instances of digital blocking or break-up
4. Mixed frame rates in narrative features (Yes – it’s a different standard for Doc’s because often in Doc’s you are dealing with footage from various sources)
5. Dual text elements appearing on screen – you can’t have subtitles burned in to the feature and also have a different language subtitle track appear.
6. Dual Mono audio – this would be accepted only in the case of very old content where there was never a stereo file made.
7. Empty Audio Channels – if you are supplying a 5.1 file, all channels need to be active (i.e. there must be audio present in all 6 channels). Any empty channels will be flagged and you will be asked to resupply the entire audio file.
8. Mixed Aspect Ratios – the entire feature must be in the same aspect ratio (ex: 1.78, 1.85 or 2.35). Some allowances are made for differences in the aspect ratios of the opening and end credits and for Doc footage. Narrative features must be consistent throughout, however.

I’ll be back with more shortly.

Cheers!

Donia

[Rafael Amador]

Hi Donia,
For iTunes they request a high quality master, because the final compression have to be done by one of the companies that Apple has licensed. They want ProresHQ or Uncompressed, and they won’t accept an Mp4 even if is perfectly processed.
Rafael

[Donia Mili]

Thanks again Rafael! For now, I will leave Itunes out of it, and focus the VoD platforms, Amazon…

BTW, if Sascha’s method does not work for plain 16:9 anamorphic, in that it will come up letterboxed as you wrote above, what above Nick Meyer’s method which is similar to your first suggestion, no?

You first suggested: “Just drop your movie on a sequence with the same settings but Anamorphic.”

And Nick Meyer’s suggestion was:
“another approach would be to drop your finished film into a new timeline: same settings for everything but set to anamorphic.
oh, yes, and go into the sequence settings, Video Processing, and turn motion scaling to BEST

it wil most likely appear with black bars left & right (Pillar-boxing)

you need to BLOW UP your footage to 133.33%

just like Sasha’s method you can control each shot, adjusting the framing up or down, key framing it if needed,
even leaving some shots stretched wide if they work best that way.
(i have even dome some simple composting to make 4/6 shots work as 16/9)

main difference is you now have a 16/9 anamorphic version of your film,
not a 4/3 letter-boxed one.”

Rafael, please let me know what you think if you get a chance.

Donia

[Nick Meyers]

i think you should try it

nick

[Donia Mili]

I will Nick… and I’ll let you know the results.

Thanks again,

Donia

[Sascha Engel]

Sorry people, that I can’t be to active on that thread right now, since I’m performing in England the coming days.
Just one question/remark: I saw many times now mentioned the idea to drop the footage into a 16/9 anamorphic TL.
Correct me if I’m wrong, but if you do this to native SD footage in 4/3, don’t you get then a horizontal distortion, meaning a horizontal stretch out of the material?

I know that my version is only an esthetical 16/9 solution, giving the widescreen look to a 4/3 footage, but the anamorphic version for this material would cause distortion.

Greetz,

Sascha Engel
TIME BANDITZ Productions
http://www.youtube.com/taikang

[Nick Meyers]

no, only if the clips themselves are flagged as anamorphic.
otherwise you should get a 4/3 pillar-boxed image.

nick

[Rafael Amador]

[Donia Mili] “You first suggested: “Just drop your movie on a sequence with the same settings but Anamorphic.”

And Nick Meyer’s suggestion was:
“another approach would be to drop your finished film into a new timeline: same settings for everything but set to anamorphic.
oh, yes, and go into the sequence settings, Video Processing, and turn motion scaling to BEST

it wil most likely appear with black bars left & right (Pillar-boxing)

you need to BLOW UP your footage to 133.33%”
You put the 4×3 picture with SIZE AT 100% inside a 16×9 frame
Nothing is blown-up.
There are not Black bars nowhere.
The top and bottom of the picture are cropped.
rafael

[Donia Mili]

Rafael & Nick: I am VERY grateful for all your ideas, and I will do my best to put them into application.

I also wrote to the distributor, asking them just how much this 16:9 format meant to them :)? Notwithstanding, I am actually in the mood to attempt this metamorphosis or rather shape-shifting of my film, which coincidentally enough revolves around ayahuasca and shamanism!

Until next time,

Donia