Shot 16:9 composed for 4:3. FCP Workflow? VFX Workspace?

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jesse

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FCP 4:3 960x720 4:3 full res cropping sides without rendering?

We shot a project on the HVX200 16:9 720p and framed for for a 4:3 SD full screen final result (not letter-boxed, but cropping sides). We currently are reviewing clips at 16:9. But we need to be able to edit at a 4:3 frame composition. This preserves the ability to move a bit on either side if needed. (Not pan and scan for final, but just to have the source available if needed.) We want to preserve the highest res for editorial and compositing i.e the 720 height and crop the width without affecting the clips and incurring rendering.

Quicktime footage properties :
960x720 (1.33)
DVCpro HD 720p60
23.976 fps

The original 16:9 sequence settings :
Frame size: 960x720 (HD (960x720) (16:9)
Pixel Aspect Ratio: (HD 960x720) anamorphic unchecked
Compressor DVCpro HD 720p60
23.98

Any recommends for the 4:3 sequence? It seems to require a custom preset but which thus far has failed to work. Our guess is a 4:3 workspace w/ 960 x720 square. However, the best solution so far is to keep the default 16:9 sequence while adding a vertical mask on the sides (SD aspect overlay) for the entire timeline. But it seems like a lot of extraneous rendering. With the black bar overlay you will be rendering every edit change. This brings up the issue of the most ideal aspect ratio in relation to PAR 1.33 vs Square etc. This relates to the next question about VFX workflow.


VFX workspace- pixel aspect ratio?

This is an effects heavy project. Once an edit is locked we will provide original HD clips trimmed to length (with heads/tails) for VFX compositing. Also trying to determine what project settings/workspace should be used in composite packages. Should we work in a square space vs. the HDV 1080/DVCPRO HD pixel aspect ratio? You want to be comping at a ratio with the least loss etc. As far as compositing you could apply the same principle by masking the sides in your comps while you work. On final assemble you can either leave the masks for a HD aspect rendered quicktime (with vertical border) or crop for SD.

I am looking for the most efficient solution. Does anyone have any advice?

Thanks.
 
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I did same thing in a different way but:

Edited , CCd etc 16:9 in FCP and took 16:9 export to Premiere. Scaled 60% in Premiere to maintain all options down the track.

My Custom Settings from Premiere: Hope they help you in some way. (Note PAL)

Desktop Mode
25fps
Frame 960 x 720 16:9
PAR= HD Anamorphic 1080 (1.333)
No Fields
Video Rendering DVCProHD 720p 50
 
Thanks Shooter. Tried this, but it just distorts. Maybe Premiere is different, maybe I'm missing something.

Here were the settings:
Frame size: 960x720 (HD (960x720) (16:9)
Pixel Aspect Ratio: (HD 960x720) anamorphic (tried checked and unchecked)
Compressor DVCpro HD 720p60

Also need workflow for VFX workspace.
 
Best workspace for compositing HVX200 960x720 1.33 footage in AE?

Best workspace for compositing HVX200 960x720 1.33 footage in AE?

Which is best for compositing HVX200 960x720 1.33 footage in After Effects? Square or 1.33 pixel aspect ratio workspace?
The final output is for D1 SD but also want to preserve for future HD resolution i.e. 1280 x960 square resolution.

Here is the step by step example comparison:

1.33
1. Import 960x720 1.33 footage (leave interpret footage as is)
2. Compify clip, creating a 960x720 1.33 comp
3. Composite and work in this comp. Use Pixel Toggle aspect ratio correction to temporarily display for square viewing without compromising footage.

[Pro's: 1.33 toggled space keeps the footage completely untouched until final output. Cons: displays with slight artifacts on edges stair-casing etc. This may make it difficult to cut a matte.]

Square:
1. Import 960x720 1.33 footage (leave interpret footage as is)
2. Create a new comp 1280x720 Square.
3. Drop in footage in new square comp.

[Pro's: you can see your footage clean with no artifacts. Con's: you have compromised your footage. You will then need to stretch again to D1 ]

A composite package like Fusion apparently doesn't have any temporary display artifacting while in the PAR correction.

Does anyone have any recommendations for the optimal workflow?
 
"Did you have a PAR option 1080? (eg PAR= HD Anamorphic 1080 (1.333)"

Hey Shooter, 1.33 PAR is available in both apps. The HVX200 footage records 960x720 PAR 1.33 and expands to 1280 x720 square. I don't want to blow up further to 1080. Or you can leave 1.33 with toggle pixel aspect ratio. Maybe I'm misunderstanding your question.
 
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