I’ve always been one to make the social edits at the proper resolution but it’s just not getting any better when my offline editors do it inside 16x9. There’s so many manual adjustments to sizes and placements. It’s less pain to just do it like the offline and then resize when I export.
How do you feel about this?
Always at the final resolution referencing the source res always
If it’s silly and it works it’s not silly.
I always make them at the size to be delivered. If I have an offline reference that is in a 16x9, then it gets cut in and either center cropped or crop edges so the ref fills the frame. Then it’s resize each shot to taste or to match the reference.
Current job I threw a bunch of late night delivery BFX on top of the 16x9. Those won’t translate well into a social resize = so pillarbox and crop on export.
At delivery res always. Pillared, HD 16x9 offline ref(s) get cropped out for ref to sit on the socials master timelines. Extra work / SOP, yes, but extracting socials from HD timeline can warrant too much of scaling. Also working with non-delivery res and resizing at the tail end (specially via export module, if that’s what you meant) can introduce uncaught OEs.
Separate timelines with proper aspect ratio always. Frequently graphics and titles are different anyway. I do 1920x1080 for broadcast, and 1440x1440 for 1x1, 1440 x1800 for 4x5 and 1440x2560 for 9x16. I do all work at camera rez unless it’s 8k, so most material fits without upscaling and it usually just takes a few minutes to convert the HD to UHD if asked.
So it seems most everyone does it the ‘right’ way. Are we all going through and manually fixing every resize and repo? My editors do pans, zooms and different things for each edit. Clients think it should be done the moment the 16x9 is approved.
You have offline editors making socials for you?
Damn! I would just do it in the same 16:9 format they have and crop it on the export.
Nah. Mine only get done once we are ready to master the 16:9
Hell my clients are seldom looking at the cutdowns in the online sessions. They come in and watch the longest edit and move on with their busy lives. Must be nice.
my clients approach :06 9x16 for facebook like we’re in the Oscars hunt.
What about TikTok safe? because that’s always a fun 11:35pm come to jesus in the bay
I wish I could give this more than one like.
I depend on connected segments a lot. I’m sure we could all go “four Yorkshiremen” on recent projects. I’ve had two concurrent ones that each had about 45 separate timelines across as many as 4 or 5 different aspect ratios. Many spots share footage, many were unique. One of my Reverse User Group submissions deals with some of the things I think could help the process. I’m fortunate in that I have early access to the editorial process, and I try to get deliverables as early as possible, and I set up a template for the job. But in the long run, I look at every shot of every spot in every aspect ratio, every comp and every title and make sure it’s right. Sometimes it might mean a new comp for a vertical image. I have to put a human eye on every repo and pan/scan. I build every project with flexibility and I always expect that it will grow rather than shrink. Needless to say, I put in long hours and a lot of weekends. There’s no holy grail to making this a magical process at the moment. I choose to head it off with organization and flexibility and making my tools work for me.
Thanks Tim
sounds familiar
Most of the time our editors/assistants work at the right resolution, but when they have to work at 16x9 so things looks right on the client monitor, this option comes in handy for Premiere xml’s:
For Avid, I’ll import the aaf at 1920x1080 and then copy every segment into a sequence that’s the right size. Nails a lot of stuff but definitely not everything.
I’ve only recently dipped my toes back into commercials after a very long hiatus. Honestly I was a bit surprised how difficult it was to make socials, given how central it is to the flame’s role on spots.
We really need a resize that doesn’t mash the pixels before a 2D transform.
John - I use your amazing Premire Fixer all the time. It helps but I still have to re-create a lot of pan and zoom stuff my offline editors do.
I don’t even bother with resize or 2D transform. I use TL action.
For 1x1 I use a 16x9 timeline and export with center crop. Shots are all re-framed for 1x1 though, just in a 16x9 timeline.
9x16, 4x5 etc, timeline at export resolution.
