HD to SD conversion in M100?

[Floh Peters]

Are you speaking about a file import, or about acquiring from tape?

[Paul Crowe]

dude,

I have to admit, I’m curious as to why you’d actually want to do this?

But I think for best results you may well have to use Compressor or Streamclip to transcode your footage to SD 4:3 (DV or whatever) and then import it into M100 to do your thing.

Cheers
Paul

[Michael Slowe]

What I would do (if you have to, see other post) is to take it into Media 100 as HD to start with and edit as HD on an HD timeline. Then open your 4:3 SD programme, drag the HD into it and the conform window will appear. You will be presented with the option of changing the framing within the 4:3 frame as you rightly say. But by crafty manipulation of the sliders (horizontal and vertical) you should be able to limit the ‘damage’ to your picture.

Michael Slowe

[Tahoe Todd]

Using a file…mov

[Tahoe Todd]

To add new ftg to an existing 4×3 program…but I don’t want to shoot anything more in 4×3. Make sense?
Thanks bro.

[Tahoe Todd]

OK Michael, I’ll try that procedure and let u know.
Thanks!

[Olof Ekbergh]

I work on a lot of legacy projects that are 4:3 60i SD, this is my workflow:

I work with 30p XDcam and 5DmkII clips a lot.

I preview and pick the clips in FCP. Even put together short sequences there, and do some Color round tripping in FCP even.

Then I export as ProRes422 1080p.

I batch import all those files into a my legacy M100 project, as HD still, they just update most of the time.

Then I create a 4:3 30p timeline and drop all the clips into it. I conform them into 4:3 30p there. Uncheck the reacquire later box.

Then I drag all those clips (one by one, to avoid creating a compound clip) into a new bin labeled SD 30P.

Those clips are then ready to be dropped into a 60i timeline, just interpret them as interlaced.

I know this may seem to be a pain, but it works very well. Unfortunately M100 can not conform media to 4:3 SD footage on import without crashing. That is why these steps are necessary.

Be careful about mixing Prores and M100 lossless codecs, there is a big gamma shift. Set project up as one or the other and stick with it.

Olof Ekbergh

[Tahoe Todd]

Olof:
Thanks for the educated advise!
Here’s another situation…I’ve since moved into Final Cut Pro v6 and exported a Media100-suite timeline via XML for the first time. It came over to FCP fine, but the scenes seem to have gone through a severe color shift…everything is somewhat “washed-out” looking as compared to the way it looked in M100. I’m using a high-end HD monitor which is setup correctly. Any experience with this?
Thanks,
Todd

[Tahoe Todd]

BTW…I went to Pierce-Birchmont during the summers when I was a kid…loved it up there!

[Floh Peters]

[Todd Simon] “Here’s another situation…I’ve since moved into Final Cut Pro v6 and exported a Media100-suite timeline via XML for the first time. It came over to FCP fine, but the scenes seem to have gone through a severe color shift…everything is somewhat “washed-out” looking as compared to the way it looked in M100. I’m using a high-end HD monitor which is setup correctly. Any experience with this?
“

Are you using a Media 100 codec (Media 100 HD or Media 100 i)? This would explain it, since FCP handles these codecs incorrectly. FCP treats them as being full range 0-255, while they are StudioRange (16-235)