[Bleakley Mcdowell]

The open source scripts on the AMIA github page work very well for us.

https://github.com/amiaopensource/ltopers

Bleakley

[Bleakley Mcdowell]

Ugh. Ok. Thanks.

Yes, they certainly don’t seem very useful at all with the way they work, which is a shame because it could, in theory, be a nice way to edit.

Blake

[Bleakley Mcdowell]

Hi Dave,

Thanks for the the response. I do rename the sequences before I nest them in the timeline, but what if I then want to rename them again? This is occurs often.

I double click on a nested sequence in a timeline to edit it, but once I’ve made edits it is no longer referenced in the browser. And if I make changes to the sequence in the browser they are not reflected in the nested sequence in the timeline – even when they share the same name and were originally the same sequence?

Is this just the way things are in FCP? it goes the other way too – the edits made to a nested sequence via the timeline are not reflected in the sequence in the original sequence in the browser.

Does Premier work this way too?

Thanks,
Blake

[Bleakley Mcdowell]

Thanks!

[Bleakley Mcdowell]

[Bleakley McDowell] “”Having it on screen very small, surrounded by black. Or, layer several of this type of footage so you have multiple windows of footage.””

OK. Let me ask this in a different way.

Lets say I want to have my SD footage windowboxed in an HD 1080 project. But, 480 is too small of a frame for me. I want the windowboxing but I want a bigger picture than 480 and still keep the SD 4:3 ratio. 1440×1080 is too big because then I just have pillarboxing instead of windowboxing.

So, what are my frame size options in this situation? Can I choose any frame size that is a 4:3 ratio (say, 1280×960 or 960×720) or am I restricted to a few particular frame sizes?

Thanks

[Bleakley Mcdowell]

[Shane Ross] “Having it on screen very small, surrounded by black. Or, layer several of this type of footage so you have multiple windows of footage.”

I think this is exactly what I’m going to do.

[Shane Ross] “[Bleakley McDowell] ”
I figure at a minimum I need to at least conform the frame rate to 23.98.”

Yes, you will.”

What about the compressor? Or the pixel aspect ratio? Changing the pixel aspect ratio to square squashes everything… can I leave everything else alone and just change the frame rate?

[Bleakley Mcdowell]

[Shane Ross] “Sure…if you keep it small frame and surrounded by black. Or, small frame layered with other video, picture in picture, or video wall style. But if you want it to be full frame, that is called UPCONVERTING. And if you just blow it up in FCP, it’ll look cruddy. That’s the worse way to upconvert.”

Thanks Shane.

I’m definitely not going to blow it up in FCP.

What would be the workflow for keeping the footage in 480 and using it in a 1080 project?

My project is: 1920×1080/23.98fps/Apple ProRes 422/pixel aspect: square/field dominance: none

Some of my footage is: 720×480/29.97fps/DV-DVCPRO – NTSC/pixel aspect: NTSC-CCIR 601/field domniance: Lower (Even)

I figure at a minimum I need to at least conform the frame rate to 23.98. What else do I need to do to keep it at 480 but use it in my project?

Thanks,
Bleakley

[Bleakley Mcdowell]

[Shane Ross] “NOPE! The Kona and other capture cards are IO cards…INPUT/OUTPUT. They take in video signals and output video signals. Any and all conversion they do is done then. None of these cards add processing speed nor power to converting already captured media.”

Ah. Darn.

[Shane Ross] “You can also use Premiere Pro. It does a great job at scaling. Scale it up, export via Media Encoder as ProRes. Better job than AE in CS6 at least. BUT…if you have a LOT of footage, meaning you need to upscale a ton of source…don’t do it yet. Edit first, using the footage as it, and then when you are done, media manage only the low res files using the COPY option with handles. Upscale those with Compressor, recut them into the show.”

Cool. Thanks for the tip!

[Shane Ross] “Uh…that’s the point of UPscaling. You are make the frame size bigger. You want to use 720×480 in a 1920×1080 project…you want to make it BIGGER. But you said you also want to keep the same frame dimensions, with bars on the side. To do that, you need to increase the dimensions to 1080…to match. But if you went 1920×1080, the image would be distorted…4:3 converted to 16:9. To keep it square, you go 1440×1080.

You can’t upconvert and keep the frame size the same…that wouldn’t be upconverting.”

Ok. This may be an absurd question, but is there a way to use 720×480 footage in a 1080 project without upconverting it? I tried just changing the framerate to 23.97 and the compressor to prores and the pixels to square, but the footage came out slightly stretched.

[Bleakley Mcdowell]

[Dave LaRonde] “what was the reason behind changing the frame rate? “ Part of the footage was shot in 1080 at 23.976 and I want to stick with that for my sequences and final output. The video I want to convert was shot in 480 at 29.97.

[Dave LaRonde] “Was the frame rate conformed to 23.976, which means the footage now runs slower?”
Yep.

[Dave LaRonde] “Was a new frame rate simply designated in MPEG Streamclip in the vain hope that frame rate conversion magic would occur?”

Yep. I thought MPEG Streamclip was good at doing rate conversions.

[Bleakley Mcdowell]

[Shane Ross] “MPEG STREAMCLIP isn’t the right app for this. It doesn’t do the best job. You need to use Compressor. Adjust the frame size to Custom 4:3, and make it 1440×1080, square pixel. And in the FRAME CONTROLS, turn them all to BEST. And you change the frame rate in the Video settings.”

Thanks Shane. I think I’m going to need to get a Kona-type card for sure as doing all the video I have in Compressor will takes days. I can use the Kona card on already digitzed files, correct?

Also, why is it not possible to keep the frame size at 720×480 when making the conversion?

Thanks!