I edit my HDV footage using the HDV codec and have been successful at using quicktime conversion... to output an 8-bit uncompressed 4:2:2 file that looks wonderful!

However, when I took it to our local station on hard drive for ingestion into their system, they said "bring it back at 4:3".

So, I thought, no problem I'll just hit the "letterbox to preseve aspect ratio" button in the Uncompressed 4:2:2 dialogue conversion box.

This did not work. I thought I'd get a 720x486 image with my original HDV footage letterboxed correctly at top and bottom. Instead, I just get a stretched version. Does anyone know what I am doing wrong?

Again, here's my flow...
Edit in HDV, 16:9
Export>Quicktime Conversion...
Choose "Compression Type" Uncompressed 8 bit 4:2:2"
Choose "Size" 720x486
Choose "Preserve aspect ratio using letterbox" (Should do it, right?)

I output that.

Then import the .mov, and drop it in a sequence. Sequence settings are:
(From the "Load Sequence Preset in FCP")
Frame size: 720x486
Aspect Ratio: CCIR 601 (4:3)
Pixel Aspect Ration NTSC CCIR 601
Compressor 8-bit uncompressed

What I get is stretched as if the letterbox never existed.

Ideas?

Thanks,
Max

but no answer in these forums yet.

Is there a setting to define the aspect ratio (or pixel aspect ratio) of the output file? Maybe FCP thinks you want the output file to be 16:9.

(I would check the settings myself, but don't currently have access to an FCP system.)

Bon

Max, have you found your solution yet. Sorry I don't have a solution but what you want to do interests me as I will be doing the same in the not too distant future.

Hope you get an answer soon,
Brian

Hi Max

I capture and edit in HDV, make a QT movie so I only have 1 Video/2 Audio layers, go print to video, and make an HDV master. I then downconvert the master from the HDV deck/camera to a letterbox SD. It looks great, and seems to be a less complicated workflow, certainly for me.

Jack

Jack,

That is the method I'd been using. What I hate about it is when clients want a small change, etc., it's just not a very easily updateable workflow. It does yield good looking results though.

Anyhow, here is what I'm doing now.

A) make my edit selections in HDV
B) Convert ALL of my selections to DV50 timeline and add shift field filter to remove jitters. Output DV50 clips to the hard drive. Re-import DV50 clips.
C) Compose my sequence and do all effects, titling, time mapping etc. in DV50
D) output to compressor.

The advantages of this for me are: 1)way faster rendering in DV50, 2) ability to use the letterbox area for website addresses and so on for clients (something they love), 3)ability to watch on my television as I edit, 4)I don't waste all the HD space I would if I captured EVERYTHING via a kona card or such to DV50.

Of course it will take more HD space and never go back to HD but that's not happening for any of these clients anyway.

Does this make sense?

Thanks!
Max