[Trevor Asquerthian]

Safe title area is likely to be broadcaster specific but old school 80% in 4.3 frame you are creating above would be 80% of 2880×2160 = 2304×1728 (I think!). That is super safe, lots of later specs were 90% (which was safe action)

[Trevor Asquerthian]

Create a black frame on V2 and mask it using inverted track matte with a white frame on v3 that is 2880 pixels (3840*0.75) wide and 2160 tall. Nest the result

This will mask your 4×3 source layer on v1 that you can resize, independent of crop/mask, to fix blanking errors.

To see blanking errors more clearly, step into the nested sequence and add an effect to bring brightness up so the black bars are white. Turn off the effect before exporting to make it black again.

Beware that sim broadcasters will not accept black pillar boxing

[Trevor Asquerthian]

The difference in extend functionality in PP vs AMC is that in PP you have to select the edit(s) to extend.

To open up a gap you can also ‘select right’ like Avid/FCP and drag or type in a number.

PP is not as strong as Avid in trimming /slipping/sliding though. You get used to it!

[Trevor Asquerthian]

1. If the source footage you are overcutting matches the guide footage can you modify timecode on guide to match and relink? Maybe export the cut as is first so you still have a guide to check against

2. Alternatively put your guide on V2 and make it 50% transparent, put new fortage on v1 and slip to sync until it matches

3. If you have an IO you can leave guide on v1, find approximate sync point for source in source monitor and use keyboard shortcut to toggle between program & source. Without IO you have to set PP to work in single monitor mode (even then it’s not as easy to sync)

[Trevor Asquerthian]

Peter, did you get any more information about this?

I’ve had to jump to Avid to get a 12 seperate mono channel export – but surely PP can do this?

Switching channel layout between mono and discrete both result in media-info reporting 1 stream of audio (containing 12 channels).

Deliverable is 12 seperate mono channels.

Thanks

[Trevor Asquerthian]

You should be able to export the captions – maybe sub sequence just that track?

I’ve not had much joy exporting and importing either open or closed captions. They both come in with a resolution of 720×480. The closed caption file has a frame rate of 29.97. The open caption does not seem to offer an option to wrap the text and the closed captions come in with very strange formatting / letter spacing.

[Trevor Asquerthian]

This is still the case it seems (i.e. SRT file has no resolution or frame rate indication, yet PPro always imports as 720×480 D1 pixel 1000fps). The 1000 fps may make sense as the accuracy of the timing is given in milliseconds, but the frame size and pixel ratio seem stuck in DVD land.

[Trevor Asquerthian]

You never use multicam?

Multicam = nesting

[Trevor Asquerthian]

I suspect you may have empty tracks in the source multicam sequence and you’ve inadvertently switched to that ‘camera’?

[Trevor Asquerthian]

I believe that PP does not have a ‘timeline zoom in/out’ shortcut that is independent of pane selected. Certainly that’s the behaviour in cc17

ie if you have program monitor selected ‘zoom in/out’ adjusts the scale of the time bar in the program pane. Hence you have to select the timeline pane before zooming. Downside of using shortcut for that is it’ll cycle onto next sequence if timeline pane was already selected.

‘Timeline zoom’ on avid is global, as was ‘zoom in/out around playhead’ on fcp7.