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Mixing Frame Rates and Aspect Ratios in PProCS3
Premiere experts,
I need to get some answers for a client I’ll be shooting for who works with the CS3 pro production studio.
These are interviews and b-roll projected to be shot entirely DV with the prime interview camera shooting 4×3 60i and the roving camera shooting 16×9 24p. There will be no attempt to match the cameras, the idea being that they will be completely different with a staid, beauty shot, conventional interview style on the prime camera and a hip, filmic, constantly moving and recomposing shot on the roving camera. The roving camera material will have something like a Magic Bullet effect added to it, adding grain, cutting saturation and perhaps increasing contrast.
The whole thing would be edited to a 4×3 60i project timeline, initially in short segments for WEB encoding and streaming playout, perhaps later for a longer piece for DVD distribution.
What are the gotchas here? Can the current PPro mix such disparate stuff on the timeline. Will it automatically adjust the 16×9 24p material for the 4×3 timeline, adding the pull down and black bars top and bottom or will some or all of this need to be dealt with by transcoding prior to use on the timeline? If not automatic, can these things be adjusted on the timeline for proper playback? I.E., What is the workflow for dealing with such a project?
Thanks,
Ron Shook
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6 Replies
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I have two DVCAM cameras ( PD170P & PDX10 )and i need to go to the next step.I use them for recording medical activites for surgens. I want to order two PMW-EX1 but i have one question: Since EX1 can not write in stantard definition, what will i do if a client ask for SD? I will shoot at HD, i will edit in HD and then i will change the quality at SD? And how i will do that.
Once more i need to say that i’m sorry to bohter you with all these.
Respectfully
Nikow Tilkeridis
tilk@otenet.gr
tiln@alter.gr
Athens – Greece -
[tilker] “Since EX1 can not write in stantard definition, what will i do if a client ask for SD? I will shoot at HD, i will edit in HD and then i will change the quality at SD? And how i will do that.”
You should start a new thread if you are not replying to the current one, anyway the EX1 will downconvert the HD-SDI to SD-SDI or output component/S-video SD -
You can do this. You need to use the interpret footage function on import. You can then set up paramaters for the pixel aspect ration for the difference clips. Ex. Project settings are 4×3 60I. Import all of that footage as is. (Pixel Aspect 0.9 default) For the 16×9 imports use the interpret footage. You can set pixel aspect 1.2 and frame rates including HDV pull up here. It can get hairy though. I have only done this using nested timelines keeping the 4×3 stuff on V1 and 16×9 stuff as nested timeline on V2. If you try and intermix on V1 the transitions and effects do not work as I would expect them. Especially if you are disolving between effects with filters and a difference matte.
I think it would be wise however to send your client some sample footage to experiment with. -
Gene,
Thanks a bunch! Just what I needed to know.
[Gene Colburn] “You need to use the interpret footage function on import.”
Since I don’t know the app, this is the only thing that’s a bit unclear to me. At what stage does this “interpret footage” function happen, during capture, in the bin, or on the timeline? I’m sort of assuming that it’s in the bin, so it would be logical to keep the two different footages separated in different bins? Can I assume correctly that this function can applied globally to any clips that are selected at one time? I don’t want to assume anything if possible. (g)
Could you or anyone else clear up this point?
Thanks,
Ron Shook
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Correct, interpret footage acts on the master clip & applies to all instances of that clip on your timeline. If you want to have the same footage behave differently, you can import the same clip as two distinct master clips.
I don’t think you’ll need to mess with the interpret footage options, unless a clip is coming in with the wrong PAR / framerate, or alternatively if you’re trying to force a PAR on a clip. (Usually, this is more likely if you’re bringing in a still – Premiere will try to guess what the PAR of the image might be, but it’s a crapshoot whether it’ll be standard vs widescreen, since stills typically don’t contain additional metadata that indicate this.)
Video footage should be correctly letterboxed / pillarboxed as appropriate when it doesn’t match the PAR of the project in question.
Cheers
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Thanks Wil!
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