[Jason Brown]

If the exported file is a deliverable, then it should be using square pixels. The file you are looking at has a PAR (pixel aspect ratio). Often referred to as anamorphic. There are several PAR’s and the 960×720 is (I believe) the DVCPROHD 720 1.33 PAR.

The reason that some players know and others don’t is a simple process of recognizing the PAR in the metadata of a file and applying it appropriately.

If you look at movie inspector in Quicktime 7, you’ll notice that the encoded dimensions are 960×720…but “current size” is 1280×720. This is because QT is recognizing the PAR, and multiplying 960×1.33

PAR’s should only be used when working in editable formats…by content producers. Once this stuff gets out into non-industry type people…it should always be square pixels.

Hope that helps…

-Jason

[Jason Brown]

I’m guessing u mean 1280×720, not 1280×1080?

I can’t help much with ur workflow, I just wanted to add in a tidbit of information. The 7d shoots at 720 60p not as “slow motion” but as a format. You can interpret it into slow mo, but 1280×720 at 60 fps is a broadcast format.

[Jason Brown]

Well, before you shoot with a DSLR, you have to resign to the fact that you are shooting to a highly compressed delivery codec. h264 isn’t a professional capture codec. While certainly very high quality…it’s a delivery method for mobile devices and Blu-Ray and some Broadcast.

Until the cameras allow uncompressed capture to a device like Kona’s KiPro, or natively capture to an editable codec…they will continue to frustrate people from a workflow perspective.

-Jason

[Jason Brown]

haha…it’s a still camera, what are you expecting? It’s the first version of a technology that is in it’s infancy. It’s bound to have problems and issues and probably will for some time.

[Jason Brown]

[Dane Udenberg] “but is QuickTime not its own codec”

No.

I’m certainly not the authority here…but quicktime is a player just like VLC.

[Jason Brown]

[Zane Barker] “True but Final Cut Express cannot use Pro Res.”

I’ve not used express before…good information! Thanks Zane… 🙂

[Jason Brown]

[Dane Udenberg] “MPEG 4.2 with an AVI wrapper”

Now, I don’t use final cut express…but I’m guessing it’s similar to Final Cut Pro, so I can’t imagine this is an appropriate workflow. Where did the source files come from? Video-Camera? SLR? Tape, tapeless? You should be working in an editable codec – ProRes gives you the most real time capabilities, and works in SD or HD…or you should be using DV-NTSC or DVCPRO-HD codecs.

[Dane Udenberg] “When I export to QuickTime .mov format”

There is no such thing as “.MOV format” just as you illuded to in your post, .MOV is a container…like AVI and it has an associated codec. Which in your case, seems to be utilizing Flip4Mac.

[Dane Udenberg] “it shows a Flip4Mac WMV “Importing””

I’d guess it has to do with your first step, AVI container…once that is fixed to a correct workflow, the other issues should be moot.

-Jason

[Jason Brown]

Not only SxS cards, but also if you are using Matrox I/O or the Max chip in the I/O box for h264 encoding you need an ExpressCard slot.

U would also need it if you have any eSATA devices.

-Jason

[Jason Brown]

I love it as well…use it weekly!

[Jason Brown]

What u want is a watermark…most compression programs allow u to add watermarks, but u will have to re-compress the video, even if using the same codec, size, bit-rate.