[Richard Sanchez]

“2. If you create a 16:9 letterbox format on the digibeta, will the 16:9 televisions “crop” the letterbox away, and show full frame?

What happens if you do a layback of a 16:9 fullframe to digibeta, and forget to put on the “16:9 anamorphic” switch?”

Always go with the delivery spec that your clients asks for. If they haven’t told you how they want it, ask them.

Richard Sanchez
North Hollywood, CA

“We are the facilitators of our own creative evolution.” – Bill Hicks

[Richard Sanchez]

You’ll need the appropriate version of Quicktime if you plan to export your video for web or DVD compression. I don’t know that it would be a problem if you’re going out to tape since it would be read from Avid’s MXF format, but I could be wrong.

Richard Sanchez
North Hollywood, CA

“We are the facilitators of our own creative evolution.” – Bill Hicks

[Richard Sanchez]

For the sake of simplicity, you could bring the entire quicktime file into Compressor. Under the Video pulldown in the Inspector window, set it to “Pass Through” so that it doesn’t recompress your video, and you want to resample your audio to 48k.

To create a custom preset, go into the Audio / Video Setting and duplicate the preset for DV. Rename it to something you’ll remember, like DV 32k or something. Then in that preset, set it to 32k.

Richard Sanchez
North Hollywood, CA

“We are the facilitators of our own creative evolution.” – Bill Hicks

[Richard Sanchez]

You’ll have to create a custom preset to capture audio with a sample rate of 32k. Once that’s done, I would bring it into compressor to have it resampled to 48k. If you let FCP do it, it will be a pain since it will have to be constantly rendered, and you might have sync issues. 12-bit audio is recorded at 32k and 16-bit is recorded at 48k. If you record mini-DV in LP mode, it will typically default to 12-bit audio.

Richard Sanchez
North Hollywood, CA

“We are the facilitators of our own creative evolution.” – Bill Hicks

[Richard Sanchez]

That’s a bummer. I know Cal Digit has not yet approved 10.5.7 for their products yet, so that’s the main thing holding me back.

Richard Sanchez
North Hollywood, CA

“We are the facilitators of our own creative evolution.” – Bill Hicks

[Richard Sanchez]

If the cost of laying back to HDCAM SR is too much, then printing out to film is right out. It’s not cheap.

Richard Sanchez
North Hollywood, CA

“We are the facilitators of our own creative evolution.” – Bill Hicks

[Richard Sanchez]

Or if you’re doing a photo montage that’s intended to be incorporated into your video, consider using After Effects. I’m sure Motion would do a good job too, but I always use After Effects for this kind of stuff.

Richard Sanchez
North Hollywood, CA

“We are the facilitators of our own creative evolution.” – Bill Hicks

[Richard Sanchez]

I don’t believe that it will affect an OMF, since the the OMF is going to operate based on tracks as opposed to channels.

Richard Sanchez
North Hollywood, CA

“We are the facilitators of our own creative evolution.” – Bill Hicks

[Richard Sanchez]

This will affect how your sequence is played out to a tape deck, (or mixer) and it will also determine the channel assignments for a multichannel Quicktime or AIF file. In discrete channel, each channel will go out as a mono stem. Ch 1 Ch2 Ch 3 and so forth. With Channel grouped, if you have say, two mono channels, and 1 stereo channel, it would be exported as Two Mono Stems and One Stereo Pair. If you set it to stereo mix, it will downmix everything.

You have to set your channel assignments by right clicking the left part of timeline, where you would patch your tracks (and disable or lock tracks)

Richard Sanchez
North Hollywood, CA

“We are the facilitators of our own creative evolution.” – Bill Hicks

[Richard Sanchez]

Oh, you were trying to select them in the timeline? I’m sorry, I should have been more specific. Select the sequences in the Browser Window.

Richard Sanchez
North Hollywood, CA

“We are the facilitators of our own creative evolution.” – Bill Hicks