[Phil Smith]

I believe what you are looking for is “Apple ProRes 422 NTSC 48 kHz”. Once you pick that setting, you should see the frame size of your sequence change to 720 x 486. Good luck!

—
Phil Smith
There are no technical solutions to creative problems. Only creative solutions to technical problems.

[Phil Smith]

Sorry, that was supposed to be:

My fault for letting them know that I am NOT a veteran at handling P2 footage… 😛

[Phil Smith]

Thanks very much to all of you. I really apologize for the confusion.

I think it was a combination of there being a lot of “half-true” information in my brain, misunderstanding what I was reading, combined with a shooter and producer SCREAMING at me that I didn’t know what I was doing and didn’t know how to import the footage properly.

My fault for letting them know that I’m to a veteran at handling P2 footage… 😛

[Phil Smith]

OK, so even though the codec says its 60fps, this isn’t actually 60fps? I know that 60 (technically 59.94) in 720p is the standard, we do that all the time. But I have never worked in 1080/60…

There seems to be an awful lot of sites/blogs/articles that say that this IS a 60 fps clip, but I get the feeling that I’m just not importing it properly.

I’m using a MacPro with the latest version of FCS, btw. I forgot to mention that in my original post.

[Phil Smith]

Honestly speaking, you can re-create that effect pretty easily in FCP by using “Light Rays” along with the “Dazzle” effect. They are located under the Video Filters > Glow menu.

You can apply the Light Rays effect and keyframe the Mix to 0 at the start of your clip, then keyframe the ramp of the rays over however many frames you want it to transition.

Use Dazzle to give it the over-the-top flash, once again, ramping up the mix to taste. You can then color correct the clip you are using to give you whatever color of rays you want.

Just a thought. 😉

[Phil Smith]

Unfortunately, no. All music and effects that were used in the piece were uncompressed WAV files.

I got the project out, but I’m going to keep this discussion going to see if I there’s anyway to resolve… :-

[Phil Smith]

Thanks to all of you for the very fast responses.

Turns out that they can accept the DigiBeta as well, the piece that I was missing was that they simply needed “Anamorphic 16:9” in an SD frame size. My client was adamant that the 16:9 was a normal SD format.

I’ve only really dealt with 4:3 SD video, so this request seemed bonkers to me.

Kudos given – Dave, especially helpful tip on scaling down the HD stuff… I’m sure I will need that eventually for this client.

Thanks again all!

[Phil Smith]

Thought I would update this forum with my findings…

I was absolved of any wrong doing. Turned out that my client failed to mention one VERY important thing:

At some point after they received my masters, they realized that they wanted to make a couple more dubs… and since they felt I was “too expensive”… they “found a buddy” and had him copy the footage off to his final cut system and then make dubs from there.

The tapes that they took to the truck were mistakenly NOT my originals, they were the dubs. And it appears as if they were placed in an incorrect sized sequence, etc… and so on.

Oy…

[Phil Smith]

Got it… DUH (headslap). I was moving it over the wrong shade of green bar. Now it works fine.

One more question: Is there a spec that is already written out there somewhere about how to properly design/prep an illustrator file for use with PowerAnimator?

I would LOVE to be able to give the spec to the guys that design our print stuff so that this process can get even easier…

Thanks again!
-PJ

[Phil Smith]

I appreciate being used as the “example” here… lol 😉

For you to go to a post house, it would start to cost what Neil quoted you. The idea is getting whomever can play HD the HD version, and then properly converting it for whoever needs SD.

Or, if you’re going to deliver SD only, then you could just spit out the SD-cropped version (this also assumes that you made the graphics/text all SD title safe) and give it to whomever has a deck to print to tape.

In my experience, most cable houses and network affiliates don’t like Anamorphic.