Understanding of the Pixels square vs. rectangular Pixels & work resolutions

Hello.

I have some problems wrapping my head around work vs. rectangular square pixels and so on.

I work in the first of 3 elements, and I have 3 cameras - 2 HD video source (a 1080, the other 720) and one other non - HD.

The images I make would be for a DVD and Youtube.

I've converted all the images at the same resolution - as I saw it, a large DVD 720 x 480 resolution screen.  Unfortunately, that was leaving black borders on images, so I went with 720 x 408 instead.

Now, I can't Premiere Elements to work at this resolution.

What is the best solution?  Should I convert the images at 720 x 480 and just work with the distortion and make sure the Youtube version was crushed down to height of 408?  Which would produce a better DVD?  Or is there a way to convince Premiere Elements to work in 720 x 408 and always do a 720 x 480 DVD?

I am aware of the reasons why there is a difference between square and rectangular pixels.  I'm not sure I'm supposed to work with the PC.

If coordinate you your Preset project to your source footage (in this case, some of them to the down-rezzed), you get no black bars, anywhere.

If you HD cameras will be low - rez, behind closed doors, that would be my choice.

Now, you have some choices to make. I would like to look at pictures of my camera SD, and if I turned in Standard (4:3) or widescreen (16:9). HD material will have been shot Widescreen.

Let's just say that you pulled SD hardware such as large screen also. In NTSC, this corresponds to 720 x 480 w / an equal footing (Pixel Aspect Ratio) = 1.2 (wider than tall). It would be as well what I had put the project preset to, and also what I had put down-rezzing in my HD cameras to.

If there are problems of sizing, it should be correctable with interpret footage, which allows to force before seeing pictures somehow. This can be useful when you have images, where a flag is not seen or recognized by PRE. This happens with some weird CODEC MPEG and also a few CODEC MOV, but almost never with the DV - AVI Type II - pre film always gets this right.

Now, the total success of this will depend on how well your camera (s) below - ground and how they manipulate prices square at 1.2 Pixels Pixels. If, for example, the aunt margin calls look a little 'fat', you want to interpret footage to square Pixels and then use the effect > Motion > scale to eliminate black bars. A small scaling should not be perceptible - but you don't want to do too much.

Also, be aware that different cameras could create Widescreen differently. One way is to just "reframe" 4:3 "resemble" Widescreen. An another shoot for 4:3 anamorphic pressed, then the NLE-like ONU it's treatment. The last is to shoot real 16:9 w / NOMINAL = 1,2. So, it depends on how your camera creates Widescreen. To read the specs. in the manual carefully, because everyone should be treated differently.

As you have found, there are many considerations, when mixing images from different cameras. It must plan before editing and find a workflow that will get the images in a common format first, then a predefined project that corresponds to the value.

The ideal is of as little scaling, as is possible. As mentioned, better this behind closed doors during the export (off-camera), or when capturing, if the camera has FireWire and pre can see and connect to it.

Sources of mixing can be done, but it's not a Slam Dunk. The workflow will depend on several factors, now to do research to see which method is the best.

Good luck

Hunt

Tags: Premiere

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