[Ed Roy]

Thanks. Both of these options worked. I went with the later, as this saves re-doing my work.

It is interesting to note that AE selected HDV/HDTV as the default for a 1280×720 square pixel comp.

[Ed Roy]

When I changed my comp sizes to 960×720, the comp PAR was already selected for the DVCPRO PAR (1:33).

And still my footage is squished. I did not shoot anamorphic.

Still perplexed.

[Ed Roy]

Interpret Footage dialogue verifies the frame rate (59.94) and the Pixel Aspect Ratio (1.33). And options for pulldown. There is no option to change the Pixel Aspect itself. And the pixel aspect is not included in this menu item.

[Ed Roy]

I did try turning off the various layers to see where this is coming from. While doing this I tried tweaking both mattes, but at the end the only thing that worked was to change my gradient background to hide the thing. And it looks pretty darn good (more than acceptable) – though I’d still like to know where that pesky white line is coming from.

But I’ll put it to rest for the time being.

Thanks

[Ed Roy]

Yup. This has gotten me in the ballpark. Only now I can’t seem to finesse the edges without leaving a very thin white line between the foreground and the background edge – unless I use a white background – then no problem. But I need to use a gradient dark grey background and the thin white line is too noticable.

I’ve been trying to finesse the edge with Keylight.

Any thoughts?

[Ed Roy]

I looked at the auto trace tutorial, and not sure it would work. It has an actor on a green screen which fills the frame.

My scenario is a class room with a projection screen which instead of projecting the instuctional material and other footage while we shot we decided to cover it with green paper and then in post replace the green with the appropriate information for the course. So its more like an object in our shot that has a green surface to be modified in post. Think of a box in a larger scene with the face of the box green, actors moving in front of the box, but we need to change the face of the box as the scene progresses – and I don’t want to rotoscope a mask – it’s a four minute clip.

Therefore I was hoping Keylight would do the trick with an Inside Mask based on a high constrast matte created from a duplication of the clip.

Does this clarify?

Thanks.

[Ed Roy]

Here’s what I have been able to do. I discovered that EDL Manager has an options window – found under the Window drop down menu. And there are a few settings that allow for modifications. I was able to get the tapes names to be recognized correctly, and almost the clip names. As my clip names are the tape name plus -1, -2, -3 ect… for some reason EDL Manager clips off the last part when exporting to the AVID. Therefore all of my clip names are identical to the tape name. Now this isn’t so bad, as long as the timecodes and tapes names are correct. Regarding the 23:59:29 tape length. I get the same thing, but this is just some sort of generated code for the tapes as master clips. When I decompose the sequence the individual (sub) clips appear to have the proper timecode – though I am still verifing.

[Ed Roy]

Thanks Todd,

Actually my FCP sequence is a single video track and pretty much cuts only – just a handful of dissolves – no re-sizing or filters or titles. I really don’t want to fork out the money right now for automatic duck – how did you do this with an EDL? I know the process is straight forward, but something ain’t happen right when I attempt it.