[John A. mozzer]

[John A. mozzer]

Here’s a screenshot showing Canvas options in Photoshop for DV-NTSC video. However, if you are planning to zoom in on the images in FCP, I would not size them all the way down to this size at this stage.

[John A. mozzer]

monica, my problem back in 2009 was that Final Cut Express, and Final Cut Pro at the time, didn’t like Raw DV Stream files (.dv extension). In Raw DV Stream files, the video and audio is interleaved into one data stream, rather than in separate synchronized tracks as in a Quicktime file with DV. The Raw DV Stream files had to be rendered before they would play properly.

My guess is, your circumstances are completely different?

[John A. mozzer]

Looks to me that FCPX does support clean aperture, as follows:

Select a project with NTSC SD 720×480 video properties in the Project Library. Show the Inspector and Properties. Click Modify Project Properties (via the wrench in the lower right corner of the Inspector). Video Properties can be changed to Format: Other; Resolution: 640×480.

As a frame of the video is displayed from the Project Library in the Viewer at 100%, I can see it being cropped from production aperture to clean aperture before my eyes.

[John A. mozzer]

To me, Final Cut Pro X seems to correctly support production aperture of DV-NTSC, which is good. My imported DV video is displayed slightly wider then 4:3, which I believe is correct. When the DV’s full pixel array contains black columns on the left and right sides, they are outside the 4:3 image, which I believe is correct.

Quicktime Player 7’s behavior in Snow Leopard has changed again since my initial post in this thread, perhaps because of an update. Now, regardless of the Presentation setting (clean aperture, production aperture, or encoded pixels), it seems to be displaying only the pixels that are supposed to represent clean aperture from the source pixel array. (This is obvious when black columns on left and right, previously displayed from the same DV, are no longer revealed in the production and encoded pixels presentations.) Therefore, I believe now only the clean aperture presentation is correct.

Quicktime Player 10 apparently only supports clean aperture presentation. I have now noticed is does indeed crop ever-so-slightly too tightly, upon selecting the pixels from the source pixel array that are supposed to represent clean aperture. Tom, perhaps this is what you were alluding to. However, this is a separate issue from the issue of FCP not supporting clean aperture in its export presets, and does not account for anything I said about that.

[John A. mozzer]

“Clean aperture” is not the same thing as “Safe Action” and “Safe Title” areas.

Televisions do additional masking within “clean aperture”.

[John A. mozzer]

In my experience with digitally born DV, a little additional image on the left and right sides is revealed by displaying production aperture (as opposed to the aforementioned black in digitized analog material.)

I have your Damine.mov file with DV from your Final Cut Express Editing Workshop DVD-ROM on my hard drive. Just now, I’ve compared the first frame displayed with Quicktime Player 10, with the same frame displayed within FCPX after importing the file into a new event. I can see a little additional image on the left and right sides in FCPX. For example, take the silver and black car in the lower left part of the frame. In the Quicktime Player 10 display, no headlight on the car is visible, due to (I believe) the display being properly cropped to clean aperture. From within FCPX, one headlight on the car is visible.

I created a new project and dragged the Damine.mov clip to it. Then, I immediately exported the whole thing using Share . . . Apple Devices . . . Mac & PC.

Next, I lined up Damine.mov on top of the new .mp4 file on my monitor, displaying the first frame of both in actual size with Quicktime Player 10. I can see they are both the same width; Inspector shows both of them as 640 x 480. In the display of the .mp4 file, I can see the additional image on the left and right sides, and I can see the headlight on the car in the lower left.

One has to be wrong; I believe it is the .mp4 file.

[John A. mozzer]

I have some DV footage (the first and only clip) in a FCPX project. The material is digitized analog Hi8, and I can see black slivers on the left and right in FCPX.

When I use Share . . . Apple Devices . . . Mac & PC, the resulting ADV video includes the black slivers in the 640 x 480 display with Quicktime Player 10. In other words, it seems to be squeezing the production aperture pixels into the clean aperture size.

When displaying the original DV with Quicktime Player 10 (FCPX not involved), the clean aperture is displayed properly in the 640 x 480 size.

Tom, will you please try it with some of your old DV footage? Look carefully at the left and right edges of the image.

[John A. mozzer]

Thanks, Eric. That’s good to know.

[John A. mozzer]

Eric, any particular reason why you recommended capturing a U-matic tape to ProRes HQ SD rather than standard ProRes SD?

I’m expecting a U-matic tape from an old friend to arrive in the mail, which I will have transferred to ProRez by a professional post production service. I’ve been debating this very question in my mind — whether to instruct the service to provide ProRes 422 (HQ) or standard ProRes 422 files. I’m leaning towards the standard.

The U-matic tape was recorded in the mid-1970’s, so I assume it is “low band”.

Of course, if Brian used his Canopus ADVC, he would have had to transfer to DV.