41 views and no response. Come on, people. Someone has to understand what is goign on here.
The number of views only represents the number of people you've stumped.How is it you think you've shot 1.78:1?
HDV1080i comes out of the camera as 1440x1080, 1.33:1, compressed to MPEG2 with chroma sampling of 4:2:0. That's how it is, that's the definition of the format.
My suggestion is based on many years of intercutting numerous incompatible formats: convert everything to the editing format before starting the job of assembly. Your DSLR footage has been compressed to H.264, probably. That shoudl be unpacked to a frame-based codec, too. Your delivery format dictates yoru editing format, not your shooting and acquisition decisions.
Huh? As I see it, you have a 1440x1080 frame size with a pixel aspect ratio (NOT picture aspect ratio) of 1.33, yielding a 1.78 picture aspect ratio totally, so what's the problem (1440*1,33.../1080 = 1.78) ?
I agree with the previous posters - technically there is nothing wrong, you are merely mixing up PAR and frame aspect ratio. You also seem to be unaware of how AE and Premiere internally deal with this stuff and the resulting differences in how it is previewed. Still, nothing you can't fix by using the PAR correction option on the comp viewer and/ or nesting your HDV in a normal 1920x1080 Full HD comp...
From the Sony site under the specifications for your camera:
So the size is right for the format. ALL HDV footage is MPEG2 at 25Mbps and 1440 X 1080. Check the footage properties in Premiere and you'll see the same specs. Check the Premiere composition settings and you'll see the same specs.
The Cannon 5D Mrk2 shoots full 1080P footage. You'll find that if you drop the Cannon footage in a comp with the Sony footage it fits perfectly. You'll also find that if you drop the Sony footage in a full HD comp it fits perfectly. AE knows all about PAR and it handles them perfectly. There's no need to worry. If it were my project I'd work directly in full HD comps and let the software manage the PAR.
You'll also need to learn about interlacing, pull down removal, and compression. I'd suggest that you read through the help section on formats and compression.
Gang, I appreciate the help, but I have read for hours and hours and hours. I am still stumped. More like read and watched tutorials for days at this point.
I've no idea how to "unpack" my DSLR footage. I was taught to just edit the raw footage ("Don't convert, edit exactly what your camera gives you") and have been using all DSLR stuff for the past nine months, so this is the first time I have had to mix formats. We were forced to use the two different cameras. That wasn't my choice. But all I can get is a squished image out of anything AE gives me from the Sony Z5 1080i.
Should I use a program like Squared 5 MPEG Streamclip video convertor?
I do not have any more budget available to purchase additional software, just so you know. I need to stick with what I have or freeware.
I would greatly appreciate a point in the direction of some reading or tutorial that directly addresses me issue. I can't just read the entire Help Section because it would take three months.
If you're on a budget just dump the footage to your computer and go. To convert DSLR footage I'd suggest Magic Bullet Grinder or just use the Adobe Media Encoder that came with your bundle. If you've been using DSLR footage for 9 months and your workflow is working then keep doing what you're doing.
If you start a project in AE with your DSLR footage and drop your HDV footage into the comp it will fit perfectly. You don't have to do anything. AE will handle the PAR conversion for you. If you want to see the HDV footage unsqueezed then click on the PAR correction icon in the Composition Window. If it looks blocky then open up the preferences and change the Viewer Quality to More Accurate. It's as simple as that.
Like I said before, "You're making this way too hard."
Hello again. I am seeing that one of the changes I made, no idea which, is now giving me footage that is 1.78:1 after fixing in AE. I really don't know what I did.
I guess my question now is, would coverting everything I have to 1080p MJPEG make my life easier and ecoding faster? Ity is taking me all day to analyze and fix just four shots with Warp Stabilizer. his is with the DSLR footage and since that's H.264 I imagine the compression scheme is a ***** to handle?
Should I be able to do a batch conversion I am game. I don't have the funds for Magic Bullet right now though.
Squared 5 MPEG Streamclip video convertor has a batch conversion, but I don't see MJEPG on their homepage listed as beign supported.
Please forgive my questions and inexperience. Being dyslexic reading text is a bear of a chore so video tutorials are much easier to soak in. But findinf the right ones to watch is not easy.
By the way, I have about 500 clips, so converting one by one would not be possible.
If you're going to apply warp stabilizer to 500 clips you're going to be at it for a good long time. The most efficient thing to do is to edit your project, then apply the stabilizer only to the sections of only the shots that need it.
Adobe Media encoder will handle all of the conversion if you want to go that route. Warp stabilizer may work better but you're going to be eating up a bunch of hard drive space. If you're working with about 500 shots for a wedding video I'm sure that not all will be used. Here again, it's better to do at least a rough cut to start with in Premiere, then tune it a bit, then apply your effects and stabilization where needed. Working the other way around will never be profitable. If you're trying to make a living at this, it's the fastest way I know to go broke before you start.
No no, I am not talking about running 500+ clips through warp stabilizer. I am asking if I should batch convert the entire set of clips to a codec easier to work with.
One issue I have is an inability to open a clip from a timeline in After Effects. It has never wrked right and I spent hours on the phone with tech support and they were stumped as well.
I'm at this moment thinking of editing with all the ugly shaking and getting a rough cut, then using AE 5.5. That will be tough since not all my clips can be saved.
The shoot was a disaster. So many things went wrong. It was a gargantuan comedy of errors, but wehave to deliver or we will be sued.
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If you're having trouble drag one of your clips into AME and set up the render settings you like. Here's what that should look like if you use PhotoJpg.
There may be better options depending on your system. Then save a custom preset. Now set the output path.
AME will remember these settings. Now drag the rest of your clips into the AME, check the settings name and press go. Come back a few hours later and start editing.