I would use the 640x480 resolution since you say graininess isn't a concern, the lower resolution really, would be of less concern to me. I realize that's the easy way out, but off the top of my head-why not? Enjoy. Rob

Thanks for speedy reply.

Let me give you a little more of my concern: I am making 1920x1080 videos. Some customers get them in that form, others get chopdowns, usually 1280x720, sometimes 720x480.

That's on the output side, and I need to be able to control it.

On the input side, my sources are usually 1080p, either HD camera footage or screencaps. But for my next work, I also need frequent recourse to webcam footage, w/my webcam producing 720x480.

If I just import/edit my 720x480 source, I can't produce any of my desired outputs, not 1920 or 1280 or 720. If I import a 1920x1080 source, I can produce all of them.

So. In the interim from last message, I tried some experiments.

I can create non-MP4 productions to 720 w/o demurral, or 1280 or 1920.

I went to a 1920-based pds I created in another part of the forest. I left just the initial title jpg and a split second of 1920 footage, then imported my webcam 720. It added to the timeline, was editable, and when I went to produce the full range of choices was present.

I then deleted the 1920 snippet. Still can create any range of outputs.

So. For the moment, I have a workaround. I can freely add/edit from the 720 sources if I first add/edit a 1920 source.

Meanwhile, though, I don't like having problems I don't understand. I still want to know why the natural behavior, importing a 720 video and editing it, doesn't let me produce any of the desired outputs. If it's a bug, so be it, life goes on. If it's PEBChK, though, I'd like to know that, too[1].

Seeya,

GeePaw

[1] PEBChK -- standard service desk code for "Problem Exists Between Chair and Keyboard".

Hi GeePawHill,
Change your Aspect Ratio* from 4:3 to 16:9 when you edit your 640x480 video and the Produce section will offer you more choice.

May I suggest you consider dropping your low res video onto a color board (16:9) and then when you place the video into your project you at least have a video with the same aspect as the final output.

Dafydd

*Edit Workspace, at the top.

Thanks.

Let me see if I get it. My underlying issue is that the webcam is 4:3 but my normal & preferred mode is 16:9?

In PD12 there's no Edit|Workspace.

When you say to drop it on a color board, I'm also stumped.

Sorry to be dim. Mama didn't raise no smart ones.

Quote: Thanks.

Let me see if I get it. My underlying issue is that the webcam is 4:3 but my normal & preferred mode is 16:9?

In PD12 there's no Edit|Workspace.

When you say to drop it on a color board, I'm also stumped.

Sorry to be dim. Mama didn't raise no smart ones.

1. Set your project aspect ratio to 16:9.


2. Put a Color board on Track 1. Spread the color board to fill the entire length of your video.


3. Put your 4:3 videos on Track 2.


4. You will now have a 16:9 video wth the color board showing on the sides of the 4:3 Video/images.

It works with an image also. Carl312: Windows 10 64-bit 8 GB RAM,AMD Phenom II X4 965 3.4 GHz,ATI Radeon HD 5770 1GB,240GB SSD,two 1TB HDs.

Thanks much. I will summarize what I've learned for the next noob.

This is PD12 specific summary of what I've learned since I started the thread.

Available production profiles will depend on your project's aspect ratio, 16:9 or 4:3

You can set that ratio any time from Edit|Aspect Ratio. That flag is sticky. If it's set in one project to 16:9 when you File|New Project it will still be 16:9.

When you drop a mismatched source onto the timeline, you'll be prompted whether to change it or not. If you don't change the ratio, all will be well, but of course, there will be bars in the produced video. They will be vertical bars if your source is 4:3 on a 16:9 project, and horizontal bars if vice-versa. In an otherwise empty timeline, those bars default to black.

Using a color board is what you do if you're cool with the bars but want them to be a different color or an image background. To do that you want the image on a lower track than your 4:3 source. Drop the image on that track and stretch it the length of the source. Now the lower-track image will "show through" behind the higher-track mismatched source.

The way to not have those bars is to take your mismatched source and use the Video Crop powertool. You'll adjust the zoom in the first keyframe, select the last keyframe and duplicate previous. This is, in essence, throwing away some video from your source. (top and bottom for a 4:3 source on a 16:9 project, left and right for A 16:9 source on a 4:3 project.) Of course, you can get fancier and use more complex panning/zooming with extra keyframes to keep the focus where you want it when you want it.

(The root cause of my original problem was not realizing how to Edit|Aspect Ratio for the project, and not realizing a new project would have the same aspect ratio as the last project by default. Noob stuff easily remedied with good advisors.)

My heartfelt thanks to all respondents! Speedy and useful!