David Dobson
Forum Replies Created
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Certain presets reject custom frame sizes.
Make sure you have square pixels and no fields (progressive) in the output settings (and in the sequence settings.)
I have output all kinds of weird screens this way. -
They fixed that in 4.0.2? I didn’t notice since I stopped exporting QT in ’08 (I am one of the few who upgraded to CS4 when it first came out.)
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In CS3 and earlier, yes, whatever your Project settings are determine everything else’ from what you can capture to what your sequence settings are. In CS4 you can have sequences of different settings in one project and I think you can capture in different formats -but I mostly import files – AVCHD, DVCProHD (P2 MFX), XDCAM. I only capture HDV or DV and even that less and less.
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Well it should be widescreen or the picture will be squashed. Also, with widescreen, on a standard TV the picture will be letterboxed, but on a widescreen it will fill the screen.
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p.s. – one thing I’ve noticed about AVCHD footage is that the audio is always 5.1 surround – at least out of the Sony cameras. Since there is no way the camera has actually picked up even a decent stereo track, the first thing I always do now is to select all the clips, then go to Clips>Audio Options>Source Channel Mapping and pick Mono and then select just the mono channel.
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If you absolutely never want to have it as an HD file, you could just edit in a NTSC-DV Widescreen sequence. I’d edit in AVCHD native and then just chose the NTSC-Widescreen high quality mpeg2-DVD output from AME. It does a fine job. If the footage is less than an hour – I like to use CBR rather than VBR encoding – seems to create the crispest picture overall.
You could also (in CS4) import the the dynamically linked sequence into encore and let Encore encoded for you (same basic results – but if you have to make changes after burning the DVD, you don’t have to also export from AME and re-import the .m2t and .wav files, blah bah blah. Still takes just as long to render, but less critical thinking is necessary (though you do have to remember to revert the transcoded enocre file to the source so it stops looking at it’s own rendered footage..)).
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AME doesn’t like quicktime. Especially H.264 as quicktime. All the changes to the template are ignored – or at least this has been my experience. However – you can export just fine as h.264. This creates .mp4 fils which quicktime can play back (if the bandwidthe is low enough or the computer is fast enough – but that’s normal with quicktime too.)
It really does seem that Adobe is trying to kill quicktime. I’ve given up on it almost entirely now and use h.264 for almost everything – which is fine because it is a mpeg4 and creates some very nice images at quite reasonable data rates.
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In CS3….create a new project with the 4:3 settings. Import your 16:9 Project into that new 4:3 project. Then either drag your 16:9 sequence onto the 4:3 timeline – or copy and paste all the clips in the 16:9 sequence into the 4:3 sequence.
In CS4 you can create sequences of different formats in the same project.
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Well then, that is one big project.
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I know the feeling.
You could create an audio only timeline and then, using Project manager, create a new trimmed project of just that new timeline. It might take 20 minutes or less but then the project would open fast each time you have to close and reopen it. It might even solve the OMF export problem altogether. I used to do this all the time in the early days of the Avid when OMF first came out and it was really awful but still better than multiple passes to a DA-88 deck.