mixing 1920 x 1080 with 1440 x 1080

[David Roth weiss]

Immy,

1440×1080 and 1920×1080 both display at 1080i, which is 1920×1080, it’s just that the 1920×1080 material you have is recorded “full Raster,” while the 1440×1080 material is squeezed when recorded as a way to compress the file size. If you put the 1440×1080 material in a 1920×1080 sequence you will see that it looks just as it should…

The biggest issue you have is not different frame sizes, but different frame rates, and that’s a little more complicated. To help you with this we gonna need to know a few more things…

1) How are you monitoring? (computer monitor(s) or a true video monitor/TV?

2) What’s your ultimate destination for this project? (TV, DVD, Web)

David Roth Weiss
Director/Editor/Colorist
David Weiss Productions, Inc.
Los Angeles
https://www.drwfilms.com

POST-PRODUCTION WITHOUT THE USUAL INSANITY ™

A forum host of Creative COW’s Business & Marketing and Apple Final Cut Pro forums. Formerly host of the Apple Final Cut Basics, Indie Film & Documentary, and Film History & Appreciations forums.

[Immy Humes]

Thank you David!

I’d gotten that 1440 is “really” 1920, but I was so sure I had to make everything match that i hadn’t even tried to use the different media in a FCP sequence. So lo and behold, they play together just fine. thanks.

For the record, and any further illumination, I’m monitoring on my iMac screen, though I do have my good old heavy little Sony edit monitor gathering dust on the shelf.

and as for destination, well, these days it’s all up for grabs – ideally it would be first TV, then DVD, then web… or any other order or medium we invent by the time this project is finished.

really appreciate yr prompt and clear reply,

best wishes,
Immy

The Doc Tank, inc for documentaries

[David Roth weiss]

The reason I asked about monitoring and destination is because you could wind up with fields issues that you can’t see on a computer monitor that could be big problems later when you go to DVD or TV.

One very big limitation of the iMacs is the inability to properly monitor with a true interlaced video monitor or TV that shows fields when they are reversed etc.

In any case, just remember this… If you put progressive video in a sequence set to interlaced, that will typically display just fine, but putting interlaced material on a progressive timeline will be NG.

So, set your seq. to ProRes 1920×1080, upper field dominance, then from there you should be able edit video from either camera. I understand that ProRes doesn’t match either camera, but trust me, it’ll work just fine.

David Roth Weiss
Director/Editor/Colorist
David Weiss Productions, Inc.
Los Angeles
https://www.drwfilms.com

POST-PRODUCTION WITHOUT THE USUAL INSANITY ™

A forum host of Creative COW’s Business & Marketing and Apple Final Cut Pro forums. Formerly host of the Apple Final Cut Basics, Indie Film & Documentary, and Film History & Appreciations forums.

[Rob Gutermuth]

I have a similar issue, but all footage is 1080i 60

2 cams are 1440x1080i
2 cams are 1920x1080i

if I use the native settings that FCP wants to convert the seq to from the 1920×1080 clip, and then add the 1440 footage in the same timeline/sequence – it will have to enlarge the 1440 footage

if I use the 1440 footage as the native sequence, then the 1920 has to change it’s aspect ratio to match…

so, how is 1440x1080i footage “really” 1920×1080… Im using the HDV codec for the sequence. it’s a smaller and faster export for a 2 hour movie… but is Prores the better way to go here?

I just want the ideal settings for being able to get max quality out of the footage. I don’t mind waiting on the export (2+ hours vs 20 mins) but I just want to be sure there isn’t something else I could do…

The 1920 clips are from the G30, which was AVCHD to Prores, and are now Prores files…. They have to re-render if I use them in an HDV native sequence, but is that my only option unless I use prores as the sequence’s codec?

Cheers,

Rob Gutermuth
Media Creations

[David Roth weiss]

[Rob Gutermuth] “if I use the native settings that FCP wants to convert the seq to from the 1920×1080 clip, and then add the 1440 footage in the same timeline/sequence – it will have to enlarge the 1440 footage
“

No, that’s a misunderstanding on your part… If your timeline is set for 1920×1080 and you add a 1440×1080 clip to the timeline, FCP sees a flag in the 1440 footage that tells it how to properly interpret the footage as “anamorphic,” and it should automatically display at 1920×1080. If it doesn’t work like that you’re either using an old version of FCP or your camera is not adding the flag.

However, since you can’t edit either AVCHD or HDV natively, you should be transcoding both to 1920×1080 Pro Res, and then just edit away.

BTW, check the tutorial “Capture HDV to ProRes in FCP over FireWire” by my old friend Chris Poisson (now deceased), in the Cow tutorial section. It will show you how capture HDV as Pro Res directly from HDV tapes. ***Beware, the timecode will not match the in-camera TC.

David Roth Weiss
Director/Editor/Colorist
David Weiss Productions

David is a Creative COW contributing editor and a forum host of the Apple Final Cut Pro forum.

[Gerry Francis]

Hi David, I am mixing a comcorder file 1440 with a 1920 file on a dell computer. I have to make the files the same so they will work when I put them in multicam on PowerDirector 14. The multicam file looks OK as a file and on youtube but when I put them on a DVD One or the other looks bad depending on the file I make to put on the DVD. Is there some way I can make files that will end up looking good on a DVD?

Gerry

Gerry