Here we go again! Apple is recalling a bunch of batteries from 12" and 15" Powerbooks plus 12" iBook G4's. See this page to determine if your laptop is affected:

https://depot.info.apple.com/batteryexchange/index.html?lang=en

After installing Ultimatte plug in. I created two clips A and B on tracks v1 and v2.

1.Select the foreground v1 choose effects- video-filters-ulitmate-advantedge
2.Double click the foreground layer to load in viewer window
3.selete the filters tab in the viewer window
4.Drag the background footage from the bin to the BG preview icon.
5.Click on the AdvantEdge logo button to launch the AdvantEdge interface.
6.Click on Overlay and Add overlay and do video correction and roto correction. then click ok so the final merged clip will be available on the viewer window in FCP.

This is rough work i did last night My question is how can drop the merged clip into my time line or should i created a separate sequence and drop the clip there. Becuase when i delete the source clips the merged clips from Ultimatte also gets deleted. Should i make it as a independent clip. Its just confusing. Please help!!!

Does anyone know where the file that controls the keyboard commands for this program is at, since you can't change them to your liking as in FCP?

If I could find that file I'm sure I could modify it, the odd ball command keys bug the crap out of me!

Hi Guys

there a way to convert DVCPROHD into Transport Stream ATSC HDTV?(not transport stream HDV)?


or maybe only th video to mpeg2 1080i/p?


best regards



Gabriele

I have a 27 minute HDV sequence in FCP5 ready to export to Compressor for use in DVD SP. I intend to downconvert the HDV content to 16:9 letterboxed SD (4:3) on the final DVD. This is the first time I have used either Compressor or DVD SP (I used to go straight from FCP to iDVD with previous SD DV projects), and even after pouring through the manuals and the workflow guide that came with the Final Cut Pro Studio package, I am utterly confused at the bewildering array of codecs and settings in Compressor.

I am starting with the DVD Best Quality 90 minutes 4:3 preset, and setting the Frame Controls in the Inspector to Automatic (assuming it will fit the wide format HDV picture into the normal 4:3 video frame with letterboxing). This is taking a ridiculously long time - an estimated 8 hours for the 27 minute sequence.

Can anyone tell me if I am headed in the right direction or list the steps to do this the right way? Does it make more sense to use DV-NTSC anamorphic and let the DVD player letterbox the output on 4:3 screens?

Sorry if these sound like idiotic questions, but I haven't found any useful answers in the manuals so far.

Thanks for any assistance you can give!

EDITED: Another Approach...

The method outlined above failed for a number of reasons, but even if I had gotten the right files to import into DVD SP4, the 14 HOURS Compressor took to manage the conversion makes that approach unworkable.

Instead, I have successfully sent my completed project back to my FX1 via Print To Tape as a full bore HDV transfer. This takes about four times the project length to pre-convert before being ready to re-record in real time.

Then I created a standard DV project in FCP, changed the FX1 settings to downconvert via iLink (firewire) so that it creates a letterboxed 16:9 picture in a 4:3 format, and captured the whole thing back to the computer.

It was then a simple thing to Export a reference (not self-contained) QT Movie and use iDVD to burn the required disk. Total time for this process was less than 4 hours. Hardly speedy, but at least three times faster than using Compressor. Of course, the settings I used in Compressor - which produced an unusable file - may have been responsible for the lengthy conversion. If someone knows the right settings, I would be happy to try this again without the trip back out to tape / recapture.

The final DVD looks like a good quality DV product. Fast motion produces noticeable compression artifacts that seem more pronounced than they were in HDV, but the overall impression is that it was shot on a very good SD camera - kind of what I was hoping to see.

I hope I'm not starting too many threads about this in various places, but I'd like to again ask for opinions on getting the best possible quality out of HDV content when transcoding to an SD codec for output to videotape. Let's for the moment NOT discuss the topic of transcoding to MPEG-2/DVD.

I have a 3.5 minute HDV sequence sitting in my FCP 5 timeline right now. I have to get in onto a DVCPro50 tape. Here are the various software/hardware options open to me, as I see it:

- Export a self-contained Quicktime reference movie from FCP using a custom DVCPro50 sequence setting. I use NTSC DV pixel size (720x480), and check "anamorphic." (Any ideas on field order setting here? I know HDV is upper but DV is lower. :\ ) This exported movie could then be brought back into FCP 5 and dropped into a native DVCPro50 sequence. Connect firewire DVCPro50 deck, print to tape.

- Record sequence back to HDV tape (lossless). Recapture as DV, then print to tape. Of course this is a notch down from DVCPro50, but might actually look better if Apple's transcoding in #1 above is subpar.

- Record sequence back to HDV tape (lossless). Recapture as HDV. Use DVHSCap or HDVxDV to extract the .m2t transport stream. Open .m2t in MPEG Streamclip and export as DVCPro50, deinterlacing. Could also do the "Steven White" method of deinterlacing to 1080p 59.97fps, then 720p, then 720i to preserve best quality. I guess this is pretty much the same as #1, it's just the MPEG Streamclip folks vs Apple in terms of compression.

- Record sequence back to HDV tape (lossless). Digitize via Kona 2 card from HDV deck's analog component outputs as uncompressed into FCP. Export DVCPro50 from FCP.

I am in the fortunate position of having access to a Firewire DVCPro50 deck, and my boss has the Kona setup (RAID and all) in his office. After my deadline, I'll try to run a test of all methods and post the results. In the meantime, please let me hear your speculations... Thanks!

I'm loving FCP 5, esp. with a project I was trying to cut from iMovie HD footage--FCP 5 detected it and I set my sequence to HDV 1080i and checked the anamorphic flag, and I was good to go. Sure, iMovie HD has some artifacts, but I really don't want to have to re-capture and re-cut my short film. It's done, I'm happy.

However, one quick question, because I haven't captured any HDV footage yet: will FCP 5 detect timecode on the HDV cameras (HD10, FX1, etc.), so I can do logs and batch captures? And possibly re-captures?

Thanks,

Heath

I have a object in the video clip that moves randomly and i want to lock a specific color on the object so that it remains in the same color where it moves.

I tried Garbage matte, 3 way color corrector but couldn't get the desired result. Any idea what specifics should i follow. Any help in motion would really be appreciated. I'm new to motion.

I was wondering if anyone had any experience using any sort of Mac-based playback application.

I work for a municipal access station and we are moving to FCP for our editing. Currently our playback is run through a PVC-8 (programable video switcher) and a Scala system (http://www.scala.com). MPEG2s running from the Scala look like crap, and running DV on the decks really wears them out.

Here is what I am trying to do:

Find a way to use a Mac-based system to playback videos and slide-content (ala the Scala). Scheduling would be an important part of the software package.

Thanks for any help.

Im pretty new to Mac and was wondering what format and compression settings
would be best to export into final cut pro from Aftereffects for the best quality, right now I am having to render my .mov files before I can view them in FCP 5.

Sorry if this sounds stupid.

steve

I'm seriously contemplating switching from Avid to FCP, and I'm hoping to hear from anyone who may have done just that.

I'm sold on getting a Mac...and in fact I'm contemplating buying it in the next day or so. But, I have to admit, I still have some reservations about moving to FCP.

I realize that most editing systems are the same, and it's the editor behind the system that really matters.... Walter Murch on imovie is going to be better than me on an Avid any day of the week.

But, have those of you who switched from Avid to FCP had any regrets, suprises, etc?

Any advice or experiences on this would help.
Thanks.

Apple has posted updates to Final Cut Pro 4.5 and Final Cut Express 3.0:

http://www.apple.com/support/downloads/desktopvideoupdate.html

Desktop Video Update 1.2.1

About Desktop Video Update
Desktop Video Out Update addresses an issue with Final Cut Pro HD 4.5 and Final Cut Express HD 3.0 when using Digital Cinema Desktop Preview (Main).

This update is recommended for Final Cut Pro HD 4.5 and Final Cut Express HD 3.0 customers.

These appear to address the problems which many users of FCP 4.5 reported under "Tiger." As with all updates, be very careful to have backups available in case they break something new. Not a good idea to apply updates to production systems which are currently working well...

Hello everyone,
I've been reading a few posts and maybe this question has already been asked and answered. I'm shooting 16:9, 24p with a 2:3:3:2 pulldown on the Canon XL2 and editing with FCP5. I set my capture settings menu in the log and capture screen to anamorphic. In the sequence preset I also use anamorphic and when I create a quicktime movie I also select anamorphic. Once I create a DVD and play the dvd on the computer to display my project on my 23" HD Apple monitor, I get black bars on both sides. I assume it's still in 4:3 mode? On my JVC production monitor the image is 16:9 due to the setting. Can anamorphic widescreen be achieved with the above tools mentioned without the black bars?

Thanks for any advice,

Reggie

I'm trying to capture some old VHS tapes. I have a Datavideo DAC-100. When I open the log and capture window it says "vtr ok," but the preview is disabled. How do I go about capturing analog footage with a bidirectional converter in FCP 5?

Thanks

I have a very specific problem and am hoping someone has dealt with this.

We are a church that is using four cameras through a Videonics MX Pro mixer and sending one s-video signal to a DSR-11 for our TV broadcast (we are tape-delayed). We then pull the audio from a separate audio board in the broadcast room. This all works fine. We capture the service to mini-dv, then capture the service on Sunday afternoon and edit for airing on Television at 8 pm Sunday nights.

This is a time-consuming process. In the absence of a Firestore or similar device, we need to capture this service live so we don't have to waste the hour after the service is over capturing it to the mac.

Here's what we have been doing:

We open the log and capture window in FCP4, set it to non-controllable device and use the capture live feature. The problem is that we have dropped frames. We're using a 1.6 Ghz G5 with 2GB of RAM. The funny thing is that we can capture from the tape for the hour and it will be a perfect capture…absolutely perfect.

If the mac has the "horsepower" to capture for an hour from tape, why can it not capture for an hour with the live feed without dropping the frames every few minutes? Is this a time code issue?

We have no other programs running, or even loaded, on this mac. It's not hooked to the internet and is dedicated to just capturing this service.

Does anyone have any ideas I could try short of buying the firestore?

I clicked "print to tape" and walked away while it did its work for the 48 minute length of the tape. I then checked the tape and all of a sudden the audio dropped out of one set of clips.

I then went back and closed any other programs that were open and re-did the print to tape. It seemed OK -- there were no audio drop outs.

Was this the problem (other programs like email being open)? Are there other tricks to avoid this problem?

hello out there..

Ill just jump right into it. im trying to work with footage from an hdv-fx1. footage taken at 60i with no picture profile. i have a g4 1.5 powerbook. i have final cut 5. ive successfully captured footage. i can edit just as ive edited dv on fcp4. rendering, however, is all screwed up. i modify(ie: de-interlace), render, and then my clip plays, in rendered form, at double speed. halfway through the clip it just goes to black and continues playing. ive tried several of the fcp effects and just get the same results.

anyone have any ideas?

thanks for taking a few seconds.

heath

Today Apple announced a new 12" iBook with a 1.33ghz G4 processor and a new 14" iBook with a 1.42ghz G4. Both models come with 512MB RAM.

http://www.apple.com/ibook/

They also bumped the standard configuration of the Mac Mini up to 512MB RAM

http://www.apple.com/macmini/

Hi, I was currious,
has anyone tried running the multicam tool from FC5 on a G4?

How did it perform?

The G4 specs are:
733mhz Quick Silver G4
1.12 gb of ram

We are editing dv video over firewire, if that helps,

thanks

john

Just wondering if anyone has an opinion on these:

www.thedrgroup.com

They look very fast and perfect for editing HD on FCP, but I've yet to see a review. Anyone use it yet or know of a review? Thanks. Kevin

I would like to export an uncompressed 8bit or 10bit quicktime file and take that file and layback to Digibeta (PAL).

Anybody know of any post places that do this, in Los Angeles, or anywhere else?

Has anybody done this? I assume the image will look exactly the same. Right?

Thanks
Bill

Hi, I am having problems burning DVD's on my G5. I'm using a Pioneer Drive purchased from OWC and I'm not sure if it is the drive that is the problem or me! I get no success burning straight from iDVD or DVD Studio Pro. If I create an image in iDVD and burn it throught the Finder it works, but if I build a DVD throught DVDSP to my HD and try the Finder after burning Apple DVD Player says supported disc missing. I also tried burning a Quicktime M2v to take to another computer to author but that burn failed. Sorry for all the info, what I really need is some diagnonsis software that would tell me if the drive is the problem or not, does something like that exist? Thanks in advance!!
Nate

Hey guys I am looking to encode to WMV HD from final cut. I used to do this by encoding the video into an AVI in codex DV/DVCPRO NTSC. That file compression makes a perfect quality DV that I can bring into WME and encode to what I wish. The problem is I need to do this in HD now. I have a PC and Mac networked. What do you guys recommend?

When I installed FCP 5, I had a film cut with FCP 4.5 with FX1 footage captured via iMovie HD (AIC). I would send an uncompressed HD copy of the film back to iMovie HD, then send it over to iDVD and make the DVD with no problem.

Well, with FCP 5, I had no problems with checking out and tweaking my movie in AIC from iMovie HD (yes!), but I did a regular compression via Compressor and made the DVD. It's all "choppy" and broken up when the people move.

It should also be noted that we shot in CineFrame 24, but I never had a problem like this. It was difficult to watch.

Any ideas what I may have to do?

heath

Hi all...I have an HD100 on order...hope to get it end of the month like everyone else.

I really need to know the challenges that I am going to have posting the 24p...etc on my Final Cut system. I have the Kona2 w/Kbox and the I/O LA.

Will I need a third party plug-in to post the 24p and other frame rates? If so, which would be the best?

A second question if you don't mind...does anyone know a resource for me that would explain the various frame rates/screen ratios and the instances inwhich I would want to use them...which one lends itself to what situation...ie. sports/low lighting/blah...blah...blah.

I am just a 29.97 shooter getting ready for the new wave...any help...a chart, a book, etc. would be much appreciated...I am just a little overwhelmed with the range of frame rates and screen ratios and which situations they may fit best.

Thanks in advance to all.

I'm in a particular situation and need help from the professionals in the board.

I'm doing a commercial for a Fireworks display. What I want to do is key some fireworks to night shots I specifically shot for this commercial. I left about half the top of the image with pure black sky (no clouds, black and no stars), and the bottom half with buildings and scenery (no people). However, the shots have motion (they pan).

The commercial was shot in 25P, and the fireworks footage was done in 50i. Any suggestion? I'm working in FCP 5 (studio with all the other software), but also have After Effects. While I would like to be able to do this effect on my current workflow, If a particular program could make my life easier, than a purchase is a possibility.

All help is appreciated. Thanks in advance!

http://news.yahoo.com/news?tmpl=story&u=/nf/20050819/bs_nf/37859

The first version of the security update was found to include only a 32-bit version of LibSystem, a vital system component. Problems with 64-bit systems cropped up first at Wolfram Research, developer of the 64-bit visual computational tool Mathematica.

All the more reason to be sure that you shut off automatic updates in the Software Update system preference pane. I have been burned before when the system updated something on its own. Best to let it ask you first...

I have my 30 minute film sound track in Final Cut Pro 5 at the moment. 6 channels from a previous mix imported back into FCP. I would like a workpath to accomplish a Dolby Lt /Rt mix which I can lay back to a digibeta for exhibition at a film a festival. The theatre has Dolby decoders. However, I am not sure how to get the Dolby mix into an analog format for the digibeta. I have been told that the digital Lt/Rt will not play on digibeta.

Hello everyone.....I've downloaded tons of HDV clips in their .m2t format and have converted them using MpegStreamclip to various formats and am confused about a few things. If I simply demux to m2v, the file size for the resulting video is nearly the same as the source m2t- which is understandable- I can import these conversions (or is transcode the proper term?) into FCPHD with no issue and they're viewable in the viewer window perfectly......but when I import the clips settings to the sequence with the same settings as the clip- the timeline needs rendering- am I missing a setting to allow no rendering- or have I missed something?

If I convert the initial .m2t file to various quicktime codecs such as DV HD-1080i (even deinterlaced- which looks great!) it shows up on the timeline without needing rendering- but the resulting file is 4X bigger than the source .m2t..is this the proper workflow?
I would have thought the raw m2v would be better and is nearly the same size as the source file- but I can't seem to figure out the proper sequence settings to allow for non-rending on the timeline.

Obviously it seems wrong to have to convert/trasncode the m2t to a quicktime codec which is 4X the file size and 4X the data rate to allow for no rendering on the timeline- does someone see a flaw in my workflow?

<< Timeline Settings were: 1440 X 810 , and variations- all needing rendering except when clips were in a QT format >>

Setup: Mac G5 Dual 2.5ghz,2.5GB Ram, FCP 4HD and sample clip called TaxiLady which I downloaded some time ago- I thought the source file was from a JVC HD10 or HD1- but MpegStreamclip info window sees it as a 25mbps file which would seem to indicate it's from a 1080i camera and not a 720p camera (unless the data is wrong- but I recall it being from a JVC HDV cam??? I thought they used data rates of 19mbps??)

I am offlining at DV resolution 23.98 for a 24P HD finish that will also be done on FCP. What plug-ins are people using most successfully for compositing 24P HD blue/green screens in FCP? Will these transfer effectively in my uprez process?

PS. I have been using the technique found on Ken Stone's pages.

Thanks in advance for your response.

At IBC 2005, AJA will show five converters and the Io Control Panel for
Io, IoLA and IoLD for their first appearance at IBC. Several of the new
converters are AJA's first audio converters.

Io Control Panel application enables direct, standalone control of Io,
IoLA or IoLD from a simple OS X interface on the PowerMac. This allows
the use of the Io as a standalone A to D and / or D to A video converter.
In addition the control panel features extensive Proc Amp controls as well
as the ability to disembed or embed audio, which adds a tremendous amount
of value, considering the price of other products with these abilities.
Its Proc Amp capabilities include adjustment of hue, saturation, video
gain, and black level, output timing horizontal or vertical, genlock settings,
and analog audio level control.

HD10AM-HD/SDI Dual Rate 8 Channel AES Audio Embedder/Disembedder. The Disembedder
is always functional, providing 4 AES outputs. The Embedder is user selectable,
on a channel pair basis, to either "pass" SDI input audio or to embed input
AES audio. AES inputs are sample rate converted to a 48Hz rate synchronous
to the video output. Input video standard is automatically detected and
configured.

HD10AMA-HD/SDI Dual Rate 4 Channel Analog Audio Embedder/Disembedder. The
Disembedder is always functional, providing 4 Analog audio outputs. The
Embedder is user selectable, on a channel pair basis, to either "pass"
SDI input audio or to embed input analog audio. Analog audio levels are
selectable. Input video standard is automatically detected and configured.

ADA4 4-Channel Bi-directional AES/EBU Audio A/D and D/A can be configured
as a 4 channel D/A, or 2 channel A/D and 2 channel D/A. It can accept a
Wordclock or video sync/color black reference input for synchronization.
Reference input and synchronization are automatic.

HDP4 HD-SDI/SDI to DVI-D and Audio Converter converts HD-SDI/SDI to DVI-D
for LCD/Plasma monitors and provides 4 DVI-D and audio outputs. Its built-in
high quality scaling engine automatically sizes 4:3 or 16:9 inputs to many
DVI-D monitors. For appropriate monitor configurations, scaling is automatically
1:1.

D5PSW SDI/ASI Protection Switch is a low-cost, dual SDI/ASI input protection
switch with 3 SDI/ASI outputs. It can be used as a repeater and/or DA.
Its multi-color LED indicators provide instant status.
###

Hey all -

Well the super16mm film I'm assistant editor on is winding down but I have an interesting problem. The production has wrapped on principal photography but the director has shot broll for a montage sequence on a DVX100 in 24p mode (not 24pA, just standard 24p). My task is to build a little montage scene ala the show 24 with moving boxes etc. inside of FCP.

1. I assume I'll need a seperate project for this montage as my 24p footage is 29.97 and my movie is in native 23.98?

2. Should I create the montage normally in a seperate 29.97 DV project and just know that my videoish movement of the boxes will eventually be film-like when it's all transferred to 16mm?

http://www.forbes.com/markets/2005/09/15/apple-computer-production-europe-0915markets03.html

Survey results indicated that 53% of post-production customers expect to spend the same or more on technology in calendar 2006 versus calendar 2005. Nearly 40% said Apple would be the primary beneficiary of their technology spending next year.

hi,
I was exporting from FCP 5.0 using export to Quicktime. I was continuously getting "general error" messages when exporting. I am exporting rough footage to make a DVD to send to someone for some location clearances for my film. I have a simpple sequence of sequential clips on V1. I put "lower third" titles over them to indicate the location of the shot. I put them all on V2. I deleted all the titles on V2 and the sequence exported with no problems. I am happy to have it exported, but I'm curious as to why the titles were causing exporting errors. any ideas? thanks!

Hello everyone. I'd like to purchase the JVC Everio MC500 which records video in mpeg-2 format to Microdrive in files renamed to .mod. I've learned that the .mod files are simply mpeg-2 files renamed and if the file extension is changed to .mpg the files play with various players. My question is: since FCP5 edits HDV's long GOP mpeg natively- can I assume the standard DVD type mpeg-2 type of mpeg can also be edited natively within FCP5 without transcoding?
I'd like to edit the mpg files the Everio produces without transcoding or converting to preserve the video quality. I can use MpegStreamclip to convert to .dv but I'm assuming I'd get a quality hit- I'm trying to preserve the quality the Everio outputs in their .mod files.
So, can FCP edit mpeg-2 files natively- if so what sequence preset should I use or custom setup?
If not- what would you guys suggest as a workflow to edit the .mods to mpeg-2 then to a codec to use in FCP5?
Thanks guys- I know this question is a doozy!

HI all,
I recently installed a friend's FCP4 on my 15" 2gigs ram powerbook. I guess it is a cracked version (that I only want to try, I'll get and pay for the original as soon as I understan if FCP works for me).
the problem I have is the following: when i double click a clip in the browser the clip (or the first frame of the clip) is not shown in the viewer. It actually is there because it is shown as soon as hit the spacebar or the L or the play command.. strange.
The clips I'm having problems with all come from a long clip captured with the "capture now" command and splitted with the "detect start stop" option in the mark menu. May be the problem depends on the way I captured the footage?
thanks for any help
pietro

I was wondering if anyone else with both Final Cut Pro HD and the M-Audio FireWire 410 audio interface have experienced errors in their playback to an external preview monitor.

With the FireWire 410 plugged in, my preview monitor will flicker black and gray while playing back. (The preview monitor is plugged in via S-Video to my DSR-11 which is connected to my G5 via firewire). When I stop scrubbing the playhead it will flicker gray, then load the image fine. All of this is solved by unplugging the FireWire 410.

Does anyone have an environment with both FCP HD and the FW410 working in harmony?

Also, when I use my FireWire 410 in Soundtrack Pro there is a metronome like clicking noise in the audio I record... Anyone know what that might be?

Hello everyone.
I'm having trouble batch capturing using FCP5 with the JVC HD10U. In the capture window it spools up and seems as if it's going to capture video- it then displays a message stating there's a "Streamcode Error" and that the clips can't be captured......anyone ever hear of this or know a fix?

I never got this message when using the Sony FX1- only the JVC keeps causing these errors....I'm at a loss for geting the clips into FCP5!!!
(The timecode is steady and seems continous- there are no detectable pauses anywhere???)

Hello to all,

This is something I see a lot here: How to convert (or play) you 16:9 footage for a 4:3 tv.
Mostly people write: How do I make my 16:9 footage anamorph for a 4:3 tv?
That question is incorrect to begin with: 16:9 footage IS anamorph (exept HD)

Anamorph means: you record a 16:9 signal (from the camera chip) as a 4:3 signal on the tape. You camera will squeese your 16:9 signal to a 4:3 signal.

This is not only with DV, every other standard definition format (DVCPRO, Betacam, IMX, etc...) is recording its image on a 4:3 signal.
So every Standard Definition format records its 16:9 footage anamorph (16:9 image squeesed to 4:3)

HD is the only format that records reel 16:9

How you know this is true: When you have captured Standard defintion footage (DV, Betacam, IMX,...) 4:3 or 16:9 (anamorph) does not matter, when you open that video file with quick time, it will allways be a 4:3 image.

When you captured 16:9 footage you will also see a 4:3 image, because it is anamorph (your 16:9 footage is squeesed and recorded as a 4:3 image)

When you have captured HD footage (HDCAM, DVCPROHD, HDV, XDCAM HD,...) and you open this file in quick time, you will see a true 16:9 image (HD records in true 16:9 without squeesing images)

(I'm repeating a lot, but I'm gooing step by step so everything is realy clear)

HOW TO WORK WITH 16:9 FOOTAGE IN FINAL CUT PRO

Lets forget about HD for now, suppose we recorded and capture in Standard def.

When you capture footage (on any system) you write a couple of things in to the file: audio, video, time code and other information.
some of that other information could be if it is 4:3 footage or anamorph (16:9)

If you are working with 16:9 footage choose in your capture presets: DV NTSC (or PAL) 48khz Anamorph
(Choose the same for your sequence preset, because your capture preset, and your sequence presets have to be the same) YOU CAN ONLY EDIT IN A SEQUENCE THAT HAS THE SAME PRESET AS YOUR CAPTURED FOOTAGE (Unless you render first)
When you chose that capture preset (DV NTSC 48kHz Anamorph) Final Cut Pro will capture your footage as a 4:3 squeesed image file, but ads that little info to the file that it is 16:9 anamorph.

As said earlyer when you open that videofile (not in final cut pro but in you folder: "capture files") it wil show as an 4:3 video file, because it is captured that way (it is Standard Def video)

Now when you open this video file in your project, final cut pro wil read that little "info" in the file that says: This is anamorph video, and it wil play that file back in a 16:9 aspect ratio.

You could think of it like this: whith anarmorph video (and sequences), final cut pro thinks 4:3 but plays it back in a 16:9 aspect ratio.

IF YOU WANT TO PLAY BACK 16:9 ON A 4:3 TV

Sinds 16:9 is a squeesed 4:3 image, that is the way your camera sends it to your TV via your cable (as a squeesed 4:3 image)
So if you play this footage on a 4:3 TV you will se a squeesed 4:3 image

What you need is:
1: A 16:9 TV. This TV wil squeese your Anamorph 4:3 image to a 16:9 ratio.

or

2: A 4:3 TV that has a function to Squeese to 16:9 ratio. (most new 4:3 tv's have this)

But what is your 4:3 tv does not have this function?
Well you can do this in Final Cut Pro.

My first advice: DO THIS IN THE LAST POSSIBLE FASE.
If you are working with anamorph video: Capture, edit, and print back as anamorph video.
Allways print your movie to tape as anamoph video if you want to store that tape (it is how you filmed, how you edited, so you schould save it that way)

If you want to play back your 16:9 movie on a 4:3 tv, we have to make an extra tape that has a 16:9 image in a 4:3 image, not squeesed (anamorph)
You want to put an 16:9 ratio in a 4:3 ratio (without squeesing)
Because a 16:9 is much wider than 4:3, and if you place a 16:9 image in a 4:3 image, you wil be left with black bars on top and bottom of the image.
This way you will see 16:9 (in the correct ratio, not squeesed) on your 4:3 tv. This image (widescreen in 4:3 with black bars is called LETTERBOX)

So the question would be: Hou can I play my 16:9 footage LETTERBOXED on my 4:3 tv?

FINALLY: HOW TO LETTERBOX YOUR 16:9 IMAGE IN FINAL CUT PRO

Actually, this is verry simple:

You have been capturing and editing in Anamorph video.
We now want to Letterbox our anamorph (squeesed) sequence in a (unsqueesed) 4:3 sequence.

So first: Change your sequence preset from "DV NTSC 48kHz Anamorph" to a non-anamorph preset, beïng: "DV NTSC 48kHz".
Dont worry: This wil not change your sequence you have been editing in, it only has effect on the next sequence you create.
So this is what we are gonna do: we choose: file ---> new sequence.
When you open this sequence you will see that is has an 4:3 ratio.
Now in your browser, look for your anamorph sequence that you have been editing in.
Now simply drag the sequence (dont open it) into the timeline of your new 4:3 sequence. Now you wil see that your intire sequence is letterboxed in a 4:3 image.

But: you can not play this sequence back yet, it wil say "unrendered" and you will see a red renderbar above your sequence. why is this?

Well remeber I said earlyer that your capture and sequende presets have to be the same?
Well now you have put a anamorph suquence (and its captured anamorph video) in a normal 4:3 sequence. So the presets of those two are not the same any more. So all you have to do is render your new sequence, and you can print your letterboxed film to tape!

I hope this will answer all your questions about 16:9 and anamorph video.

Greetz,
Tim

DON'T FORGET:

ANAMORPH = 16:9 image squeesed into a 4:3 image
LETTERBOXED = 16:9 image in 4:3 image, not squeesed (black bars top and bottom)
Allways keep working anamorph on to the last fase. Archive your project anamorph, only letterboxing for display on 4:3 tv.

I'm using a JVC HD10U with FCP5 and am continously getting "Stream Error Detected" messages during batch capturing and can't get my clips captured. Has anyone experienced this or know of a workaround?
I'm at a standstill and have no way of getting my HDV clips into the project. If anyone knows anything, please leave a comment.
Thanks everyone.

(Note: Timecode is continuous- no breaks apparent. FCP warns the media could be faulty but I'm using new Sony DVM60ME tapes and doubt the tapes are the culprit. I'll try a Panasonic tape tomorrow- if anyone has any info, I'd be interested in hearing it. Thanks again.)

Any info if those are compatible. Can I just stick my P2 card into the Mac and start edditing?

I've got a ton of behind the scenes footage (10 tapes or so) that was shot on a rented XL-1 that I am trying to capture to FCP5/G5 using my DVX as a deck. Capture aborts within seconds on all of the tapes. Capture works fine with tapes shot with the DVX, so I don't think it's a system issue. I've tried using Capture Now for the whole tape as well as using in and out points at various spots within the tapes shot on the XL-1. Nothing is working. I assume it's either a compatibility issue, a setting I have wrong or bad tapes. As these tapes came out of the same box as those used in the DVX, which are capturing perfectly well, I'm inclined not to blame it on the tapes. FCP is already set to ignore timecode breaks. Any idea as to what might be going on? Suggestions would be greatly appreciated.

Thanks, Lain

Someone wanted to see a sample of my work over the internet. I used FCP compressor to export as .mp4 which says is compatible with quicktime 6. But he wasn't able to view it.

So I need a format he can read that is realively small (2-10 mb) its only a 30 second clip.

FCP 4 HD Voice Over worked fine on Panther using Built-in audio. I installed Tiger on new partition and migrated from old volume as per successful reports here.

Now, FCP 4 HD Voice Over utility does not work when Built-in audio is selected. DV audio input works fine. Other audio utilities capture from the Built-in audio input just fine. Only FCP built-in audio is broken. I am sending line level audio from a mixer. I don't see any way to control Line vs Mic level anywhere.

I posted to FCP discussion on Apple.com but no help.

Hi everybody,
I'm editing some of my footage from a recent shoot and the audio tracks in the timeline are stereo like they should be, I can tell from the waveforms, but when I play it back it sounds like the same thing coming out of each channel and the two audio metres in FCP are both moving the same when one channel should be a lot louder. Is there a setting somewhere I have to change?
TIA
Nate

Someone suggested a file hosting site a while ago can't seem to find the post. Any suggestions, I want to post 2-4 mb quicktime commericals for clients to preview.

(mod: i didn't know what forum to post this in)

I shot some footage with an overdose of GAIN on an XL2. This produced a some very grainy visual footage. I dont have the option to reshoot. I was wandering if any one knew of some tricks to hide it or fix it completely through filters and such in FCP.

I might have to just go for an old-school black and white filmic look. But Id like to save the color if I can.

Hey all. Well, I have to start capturing for this documentary project and there's around 35 - 40 hours worth of footage shot in HDV (we're capturing at DV converted off a Sony HDV deck) and DV from a dvx100a (24p footage) and we have a single 500 gig graid fw drive to work on. We need the best quality SD that we can use with our given storage. Is the best route to just use the default DV25 capture in FCP5 or is there a step up, or a little tweak that would still allow us enough storage room on our 500 gig drive (obviously 8 or 10 bit SD will take up far too much space) or is dv25 the same quality that our signal is being sent at therefor rendering any higher grade in SD to work with pointless? Thanks!

Hey,

Does anyone have or know where I can get an Academy Leader? Basically it's the countdown.

I'm wondering if some editing systems, like Final Cut, provide them. Anyone know?

Thanks,

Josh

I grabbed an AIF off a CD and imported it into FCP 5.0.3, which I just downloaded, and about 10 seconds in, the song "lags," if you will, for 3 seconds. IS this an FCP 5.0.3 thing or something? I'm also cutting in 1440x1080i HDV.

heath