![]() ![]() Now you have the skills to crop your video in Premiere Pro – be creative and have fun. Instead, you can add it to one of the many tools an editor needs to produce a full range of content styles. All editors have their own methods of solving creative problems that arise during the post-production process, and there is no right or wrong way to use the effect. You can use this when you need to export square videos for use on social media.Ĭropping can be used in a variety of ways to create beautiful, dynamic video pieces that add an extra layer of professional quality to your work. While changing the aspect ratio might crop the video, it also changes the size and shape of the final file. You can use cropping for stylistic editing choices, such as split-screen, or vertically filmed videos.Īspect Ratio is the size at which your video is exported, keeping the video full screen. Let’s take a look at the five presets we’ve got: 1 &2 CINEMA FADE IN AND OUT These fades are a little bit different than normal cross dissolve that we usually have. When you crop a video, you are removing part of the video leaving a blank space where the video has been removed. In the effects tab if you right click on the three lines near the top of the tab you can choose to import presets. It’s when projected on a SCOPE screen that you run into issues.Bonus: Cropping vs Aspect Ratio – What’s the Difference?īefore wrapping up, it’s essential to clarify the difference between cropping your video and changing the aspect ratio. Rest assured that a SCOPE film whether packaged in a FLAT or SCOPE container will look pretty much the same on a FLAT screen. Low res cinescope premiere how to Low res cinescope premiere pro Low res cinescope premiere software Low res cinescope premiere software Software rendering is slower, but useful for some types of video. Can’t we keep it that way?īecause of masking, theaters don’t really have a letterboxed look, per se. This would allow you to easily adjust the picture area within the crop using the motion controls for the video clip. Consider creating XML subtitles projected over image before sacrificing significant screen real estate unnecessarily. Translate Michael Grenadier Community Expert, or create a matte frame in photoshop and put that on a higher video level. It’s an easy choice when making a Blu-Ray, but you have significantly greater options when making a DCP. What if I want to put my subtitles in the letterboxing? It’s also unlikely that special instructions like this will even reach the appropriate party as the person who ingests your film may be separate from the person who assembles your playlist and plays it back. After that, bring the file in Premiere Pro CC. Simply head over to Photoshop and create a file that is exactly 1920×817 pixels in size that actually is going to be your 2.35:1 aspect ratio template. Even then, most projectionists don’t like to court uncertainty. To achieve this effect you can apply the White Screen Bar method demonstrated in the video above. Most projection setups are heavily automated and have only a few presets available. The less confusion you can create for a projectionist the better.Ĭan’t the projectionist make adjustments? This is because trailers are intended to play in sequence with the same container size as the feature film they precede. The only material that is usually required/recommended to be delivered in both FLAT and SCOPE containers are trailers. It’s important to consider how your audience will receive this when projected on screen.Ĭan I master my DCP in both FLAT and SCOPE? The letterboxing of this picture is fairly significant in a FLAT container. ![]() The choice would appear to be pretty clear cut here as well, but there is an important variable to consider in this circumstance: screen aspect ratio. Neither FLAT nor SCOPE offers a truly optimal solution here: Some aspect ratios, like the infamous RED 2:1, are a bit trickier. It’s a great choice for filmmakers looking to capitalize on the maximum resolution available to them, but a problematic choice for distribution. For instance, a 2.4:1 aspect ratio image make the most sense in the 2.39:1 SCOPE container. In most other cases your aspect ratio will likely be “close enough” to make the decision easy. Ideally, your film matches up perfectly with one of the aspect ratios listed above. SCOPE Containers should avoid Pillarboxing When in doubt, play by this simple rule of thumb:įLAT containers should avoid Letterboxing ![]()
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