setting for beta sp 16×9 anamorphic SD

[Shane Ross]

I don’t think 16:9 SD exists. Never heard of it. Beta and Digibeta packages shoot 4:3. You might get 16:9 with a lens adapter, but TV doesn’t air 16:9…it airs 4:3 letterboxed.

Now someone else will chime in and confirm my thoughts, or refute me.

Shane

Littlefrog Post
http://www.lfhd.net

[Chris Poisson]

I’ve used footage shot anamorphic on Beta SP a few times. My camera guy for Beta has an in-camera setting on his Ikigami for it, but I suppose there are lens adaptors for cameras that don’t have it. It looks just like anamorphic footage that comes from a DVcam, except that it has 6 extra lines. Looks great. You just use say, an 8bit setting in FCP and set it to anamomrphic.

[Peter Dewit]

No idea if BetaSp has a 16:9 mode. I’d speak with the shoots Dp about that ahead of time.

Really working with anamorphic stuff in FCP is pretty easy. It’s actually easier to load in as 4:3 and leave it stretched. Then when you’re putting a clip onto the 4:3 sequence you right click on the clip and go into item properties -> format. Then just check off the anamorphic box. Once you do this you can drop the clip into a 4:3 sequence and FCP will letterbox it for you.

I’d double check things with the shoot’s DP ahead of time if you can. Also ask the producer what the delivery format if going to be. That will let you work out your workflow ahead of time.

[Graeme Nattress]

Actually HDV would chromakey better than any SD format if you key in HD and then shrink to SD.

BetaSP isn’t really suitable or has the resolution for widescreen anamorphic work – stick with DV or Digibeta as a minimum.

Graeme

– http://www.nattress.com – Film Effects and Standards Conversion for FCP

[Jeremy Garchow]

I do it a lot with footage originating from an SDX900. It shoots 4:3 anamorphic (which stretches out to 16:9). Tell FCP that your footage is anamorphic and set your sequence to anamorphic.

It’s really easy.

Jeremy

[Graeme Nattress]

Yeah, SDX900 would be great for 16:9 SD stuff. Great picture on that cam, and DV50 too.

Graeme

– http://www.nattress.com – Film Effects and Standards Conversion for FCP

[Nate]

Yes,

You can shoot 16X9 Betacam SP. My Sony DXC35wsl has the extra wide 2/3 chips for it and it is just a push of a button when you power up. The camera crops the edges of the chip for standard 4×3. It is anamorphic. The DXC35wsl can be attached to the PVV3 Betacam SP VTR or the DSR1 DVcam VTR back. I have both backs and switch them out often, usually when I need a tape format longer than 30 minutes or when I am having to lower my bid to match the 1/3 and 1/4 chip DV jocky’s out there. My main Corporate and Broadcast clients demand Betacam SP camera tapes for their broadcast and VIP video. They like the saturated colors.

I have yet to have the request for 16×9 Betacam SP, but I am ready. I have the UVW 1800 (x2) also.

I hope to shoot some 16X9 Betacam SP this summer and then import and up-rez it into a DVCpro HD Timeline just for the comparison. My objective is to compare it with HDV and the new $20K HD cameras from Sony and Panasonic. It would be great if this would buy me another year or two from having to purchase a true HD camera and VTR. Considering all the compression in HDV, HDcam and DVCpro HD I am anticipating a close call. 🙂

Go for it. Make it look pretty. Make sure your camera tape coming out of the 1800 has been set to a scope. Use the TBC in the 1800 to make it pretty so you only have to tweak in FCP.

[Rafael Amador]

But why to keep in Beta? I guess that for less money that you rent the Beta camara you can rent a digital one that will give you better quality and less problems to put the footage in your HDs.
Rafael

[Neil Ryan]

[rafalaos] “But why to keep in Beta? I guess that for less money than you rent the Beta camera you can rent a digital one that will give you better quality and less problems to put the footage in your HDs.”

Rafael makes a good point.
Based on what you said initially:
“My Client wishes to have a project done in 16×9 Standard Def.”

You need to deliver a 16:9SD master.
Separate your capture from your delivery. Not so long ago, you’d shoot Super16 for something like this. Then deliver a BetaSP master.

Don’t know what acquisition gear you have, nor what gear you’re prepared to rent, but the previous posts cover plenty of options; just remember to separate your Acquisition medium from your Delivery medium.

cheers,
Neil.

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Neil Ryan
Post Production
The Pod Multimedia
http://www.the-pod.com.au
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