Great example of 1440×1080 (4:3) on YouTube

Despite the 16:9 thumbnail, the above video’s YouTube stats indicate that it is a 1440×1080. When you play it, you’ll see that it’s 4:3.

Wonderful example of 4:3 (1440×1080) on a 1920×1080 canvas on YouTube

The above video has a Norman Lear Effect logo in the canvas, in the pillarbox.

Feasibility of getting a deliverable file at 4:3 (1440×1080) w/square pixels

As I have explained, there are many advantages and disadvantages of delivering either 4:3 content on top of a wider 1920×1080 canvas with pillarbox… versus delivering a pure 4:3 (1440×1080) file with square pixels, depending upon the delivery venue. If you would like to use a pure 4:3 (1440×1080) square pixel file, hopefully your software will be able to fulfill your wish and deliver it properly, without ruining it.  However, if your software (like many) won’t give you that and you are forced to create an intermediary file with 4:3 content on top of a wider 1920×1080 canvas, then you may consider using the Apple Photos app on macOS to crop that intermediary video file properly and as desired. At first, it might seem wrong to do this with the Apple Photos app on macOS for video files, but Gary from MacMostVideo will prove that it is quite correct with the following video!

At 3:26 of the above video, you will see that there is even a 4:3 cropping preset in Apple Photos for macOS to facilitate this process. (Gary mentions the square cropping preset, but the 4:3 cropping preset is also visible there.) If you click on the 4:3 cropping preset, your cropping tool will be locked to that aspect ratio to make it extremely simple.

If you know of any similar app that does true video cropping for Linux or Windows (truly changing the dimensions), please comment its name below this article.

Related articles

• Capture from VHS to 59.94p or 50p: best practices & goals

• Review: Canopus/Grass Valley ADVC110 analog to digital converter with micro-TBC to capture VHS and other analog videotapes

• First look: Dub Optimiser converter to extract Y/C video from U-Matic decks with dub output

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FTC disclosure

RØDE has not paid for this article. RØDE has sent Allan Tépper units for review. Some of the manufacturers listed above have contracted Tépper and/or TecnoTur LLC to carry out consulting and/or translations/localizations/transcreations. So far, none of the manufacturers listed above is/are sponsors of the TecnoTur, BeyondPodcasting, CapicúaFM or TuSaludSecreta programs, although they are welcome to do so, and some are, may be (or may have been) sponsors of ProVideo Coalition magazine. Some links to third parties listed in this article and/or on this web page may indirectly benefit TecnoTur LLC via affiliate programs. Allan Tépper’s opinions are his own. Allan Tépper is not liable for misuse or misunderstanding of information he shares.

Thanks to a new free plugin for Stream Deck, the popular control device can now control the RØDECaster Video mixer/switcher (reviewed in several articles here). Also, an update to the free RØDE Capture app now allows connecting the live output from an iPhone or iPad to an input source of the RØDECaster Video. When doing that, you have access to using both the primary and self-portrait («selfie») cameras simultaneously, if desired. To have a Stream Deck control your RØDECaster Video, the RØDECaster Video must be connected to the same local area network as the computer which hosts the Stream Deck. Then you must download the free RØDECaster Video plugin from Elgato’s Stream Deck marketplace. See that and more in the free video from RØDE below:

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Stream Deck ahora controla el mezclador RØDECaster Video

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FTC disclosure

RØDE has not paid for this article. RØDE has sent Allan Tépper units for review. Some of the manufacturers listed above have contracted Tépper and/or TecnoTur LLC to carry out consulting and/or translations/localizations/transcreations. So far, none of the manufacturers listed above is/are sponsors of the TecnoTur, BeyondPodcasting, CapicúaFM or TuSaludSecreta programs, although they are welcome to do so, and some are, may be (or may have been) sponsors of ProVideo Coalition magazine. Some links to third parties listed in this article and/or on this web page may indirectly benefit TecnoTur LLC via affiliate programs. Allan Tépper’s opinions are his own. Allan Tépper is not liable for misuse or misunderstanding of information he shares.

Safe area in television and its subsets

The original television sets (from the 1930s to the early 2000s) had CRT (cathode ray tube) displays. The display on the CRT would vary with variable electrical voltage available at viewers’ homes. Because it varied, television TV set manufacturers began to calibrate them at the factory with overscan. That’s why TV producers could not be certain where the visible edges of the image would be. In order to compensate, our ancestors in the video and television production field defined these safe subareas:

• Title Safe Area – An area visible by all reasonably maintained TV sets, where text was certain not to be cut off.
• Action Safe Area – A larger area that represented where a “perfect” set (with high precision to allow less overscanning) would cut the image off.

Despite the wide adoption of LCD TVs that do not require overscan since the size of their images can fortunately maintain the same irrespective of voltage variations, many LCD TVs still come with overscan enabled by default, although it can be disabled by the user using the TV set’s on-screen menus. Since many users have no idea that the option exists, we video producers in 2025 must still respect safe areas for the foreseeable future. This is equally true if the video we are creating will be displayed on traditional broadcast, on a smart TV connected to the Internet directly or via a set top box like an Amazon Fire TV stick, AppleTV or Roku box/stick.

Some tools to comply with safe area for television

Many professional monitors including the Blackmagic SmartView 4K G3 I covered in April 2024 include safe area indicators.

Apple’s Final Cut Pro comes with title-safe and action-safe overlays that you can show or hide.

Blackmagic’s DaVinci Resolve Studio also includes this, as shown with the above video from Resolve Training.

Safe area for audio podcasting

One example is Apple’s stipulation in its audio podcast artwork guidelines:

«Keep all essential design elements within the Art Safe Area. Anything placed outside of the Art Safe Area is subject to cropping and or UI overlays.»

Source: here.

Beyond Apple, i.e. other places where an audio podcast or its episodes are promoted, see the following section.

Blogging, social media and today’s audiobook cover art

After decades of experience publishing content in blogs (WordPress and others) and in many social media platforms, I know that many of them will automatically crop an important percentage of a main image for its display on the main page or within search results. That automatic cropping they do is similar to the overscan in TV sets, but worse! For that reason, I very often create a larger version (with extra safe area) to upload in the «main image» section in the blog and in social media promotion, so that the image is still valuable after that cropping occurs. I don’t usually use that larger version (with extra safe area) since it usually takes too much space in the column.

The same applies to today’s audiobook and podcast cover art for the same reasons.

Print safe area = bleed

In printing, bleed is printing that goes beyond the edge of where the sheet will be trimmed. In other words, the bleed is the area to be trimmed off. The bleed is the part on the side of a document that gives the printer a small amount of space to account for natural movement of the paper during guillotining, and design inconsistencies. Artwork and background colors often extend into the bleed area. After trimming, the bleed ensures that no unprinted edges occur in the final trimmed document.

It is very difficult to print exactly to the edge of a sheet of paper/card, so to achieve this, it is necessary to print a slightly larger area than is needed and then trim the paper/card down to the required finished size. Images, background images and fills which are intended to extend to the edge of the page must be extended beyond the trim line to give a bleed.

Bleeds in the US generally are 1/8 of an inch from where the cut is to be made. Bleeds in Europe generally are 2 to 5mm from where the cut is to be made. This can vary from one print company to another. Some printers ask for specific sizes; most of these companies place the specific demands on their website or offer templates that are already set to their required bleed settings.

Source about this printing bleed information: here.

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El «área segura» tiene hasta más importancia en 2025

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FTC disclosure

Some of the manufacturers listed above have contracted Tépper and/or TecnoTur LLC to carry out consulting and/or translations/localizations/transcreations. So far, none of the manufacturers listed above is/are sponsors of the TecnoTur, BeyondPodcasting, CapicúaFM or TuSaludSecreta programs, although they are welcome to do so, and some are, may be (or may have been) sponsors of ProVideo Coalition magazine. Some links to third parties listed in this article and/or on this web page may indirectly benefit TecnoTur LLC via affiliate programs. Allan Tépper’s opinions are his own. Allan Tépper is not liable for misuse or misunderstanding of information he shares.

Less than a month ago, I published my review of the US$149 Wireless Micro system, including a video with Memo Sauceda. Now, RØDE has just released the third generation of the Wireless GO for about double (US$299), although including inboard 32-bit float recording. Naturally, you’ll want to know the intricate differences between these two compelling systems, so ahead you’ll find a detailed comparison chart, since at first they seem so similar.

Key features

Here are key features of the Wireless Go (Gen 3):

• Dual-channel compact wireless microphone system
• RØDE’s state-of-the-art Series IV 2.4 GHz digital transmission with 128-bit encryption for crystal-clear, stable audio at ranges up to 260 meters (line of sight)
• Over 40 hours of 32-bit float on-board recording for the recovery of clipped or quiet audio files
• Intelligent GainAssist technology, flexible output gain control and safety channel for ensuring pristine audio when recording direct to camera
• Universal compatibility with cameras, smartphones and computers for ultimate flexibility
• Locking lavalier connectors for complete security and peace of mind
• Headphone monitoring with on-board level control
• Automatic plug-in power detect for extended battery life
• Easy configuration on a computer or smartphone via RØDE Central
• Bright LCD display and intuitive controls for quickly and easily adjusting settings on-the-fly
• Compatible with all RØDE Series IV devices, including RØDEcaster Pro II and Duo, RØDECaster Video, Wireless PRO, Interview PRO and more

Here is the comparison chart I prepared:

Conclusions

Both the Wireless Micro (reviewed here) and the just released Wireless Go (Gen 3) offer a tremendous value offering. Please analyze the comparison chart carefully to help you make the best decision possible for your specific situation. There are many details covered there to consider.

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FTC disclosure

RØDE has not paid for this article. RØDE has sent Allan Tépper units for review, including the Wireless Micro and the Wireless GO (Gen 3). Some of the manufacturers listed above have contracted Tépper and/or TecnoTur LLC to carry out consulting and/or translations/localizations/transcreations. So far, none of the manufacturers listed above is/are sponsors of the TecnoTur, BeyondPodcasting, CapicúaFM or TuSaludSecreta programs, although they are welcome to do so, and some are, may be (or may have been) sponsors of ProVideo Coalition magazine. Some links to third parties listed in this article and/or on this web page may indirectly benefit TecnoTur LLC via affiliate programs. Allan Tépper’s opinions are his own. Allan Tépper is not liable for misuse or misunderstanding of information he shares.

At least since I first became involved in live multicam television studio productions in the eighties here in the United States, the name of the human being who physically presses the buttons on a video switcher/mixer is called a TD (Technical Director). If there is another person who verbally directs from the control room, s/he is the Director, and the TD does whatever the Director says. (The role of the TD in other fields is different, i.e. in classic engineering, film production, software development and theatre.) Nowadays, at least two video switchers/mixers on the market (RØDECaster Video and YoloBox Ultra) offer autoswitch robotic TD capabilities, which allows a single person initiate cameras, start a recording and/or live broadcast and also simultaneously participate in an interview/conversation. This feature alleviates that single person from having to press buttons to switch cameras, and does so based upon the activity of the audio inputs of the participants.

In both devices, this can be made to work with any combination of audio which is embedded via HDMI from camera sources or from discreet microphone sources connected to the video mixer, either wired or wireless (in the case of the RØDEcaster Video). Both can either broadcast live and/or record live-to-drive, with optional ISO recordings of each camera source to correct anything in post-production, if there is any post-production.

The above will serve as an introduction to Aaron Parecki’s excellent comparison video between this very function in RØDECaster Video and YoloBox Ultra.

Related articles

• See my review of the RØDECaster Video: RØDECaster Video: finally a video switcher-recorder-streamer that is serious about audio too
• See my article: RØDECaster Video: 5 benefits to connect USB mics or USB interface
• See my YoloBox Ultra article: YoloLiv introduces YoloBox Ultra with bonding, ISO, NDI, more inputs and speed

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FTC disclosure

RØDE or YoloLive has not paid for this article. RØDE and YoloLiv have sent Allan Tépper units for review, including the RØDECaster Video. Some of the manufacturers listed above have contracted Tépper and/or TecnoTur LLC to carry out consulting and/or translations/localizations/transcreations. So far, none of the manufacturers listed above is/are sponsors of the TecnoTur, BeyondPodcasting, CapicúaFM or TuSaludSecreta programs, although they are welcome to do so, and some are, may be (or may have been) sponsors of ProVideo Coalition magazine. Some links to third parties listed in this article and/or on this web page may indirectly benefit TecnoTur LLC via affiliate programs. Allan Tépper’s opinions are his own. Allan Tépper is not liable for misuse or misunderstanding of information he shares.

Both Blackmagic Design and TecnoTur have announced their 2024 holiday discounts. First I’ll share those from Blackmagic Design, followed by those from TecnoTur. Blackmagic just announced a limited time offer of 20% off DaVinci Resolve Studio, DaVinci Resolve Micro Color Panel, DaVinci Resolve Micro Panel and Fairlight Desktop Console. The new special prices follow:

• DaVinci Resolve Studio was US$295; now US$235
• DaVinci Resolve Micro Color Panel was US$509; now US$395
• DaVinci Resolve Micro Panel was US$859; now US$665
• Fairlight Desktop Console was US$3,055; now US$2,445

Additionally, there is a limited time offer to receive a free Blackmagic Cloud Pod when you buy a Blackmagic Cloud Store 20TB or Blackmagic Cloud Store Mini 8TB.

These offers are available for a limited time only. Learn more about DaVinci Resolve at www.blackmagicdesign.com/products/davinciresolve and Blackmagic Cloud Store at www.blackmagicdesign.com/products/blackmagiccloudstore.

TecnoTur’s 33% palindromic offer is as follows:

The following 33% discounts apply to most TecnoTur web hosting plans, both new orders and renewals, including:

• Solo
• Palindromic
• Podcasting/Radio broadcasting (CombinedHosting)
• Book Portal (promotion, links and direct sales with automatic download)

as well as the following accessories:

• Maintenance
• Website migration

The 33% discount cannot be combined with any other discount. It is not valid for domains or Membership plans. The discount code is Gratitude2024 (all together, without any space) for both new orders and renewals.

I wish you Happy Thanksgiving. For more information, visit TecnoTur.LLC.

About the pending price increase

TecnoTur has not adjusted its hosting or maintenance prices for more than a decade, but starting January 1, 2025, we will have to do so. On that day, the new information will be posted on the website. However, all current contracts (closed and paid before that day) will be honored at the current price. If you want to save even more, renew now and do so with the Thanksgiving discount.

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FTC disclosure

Blackmagic has not paid for this article. Blackmagic has sent Allan Tépper units for review. Allan Tépper is the director of TecnoTur.LLC. Some of the manufacturers listed above have contracted Tépper and/or TecnoTur LLC to carry out consulting and/or translations/localizations/transcreations. So far, none of the manufacturers listed above is/are sponsors of the TecnoTur, BeyondPodcasting, CapicúaFM or TuSaludSecreta programs, although they are welcome to do so, and some are, may be (or may have been) sponsors of ProVideo Coalition magazine. Some links to third parties listed in this article and/or on this web page may indirectly benefit TecnoTur LLC via affiliate programs. Allan Tépper’s opinions are his own. Allan Tépper is not liable for misuse or misunderstanding of information he shares.

I recently had the honor of interviewing top Netflix documentary director Alessandro Angulo Brandestini on his recent production of Brothers by accident. The original name of the multi-city/multi-country production is Hermanos por accidente. Most of this original Netflix production is in Castilian (aka «Spanish»), although it fortunately includes optional subtitles (closed captions) in many languages, including English. On episode 92 of CapicúaFM, I conversed with Alessandro both about the unusual and emotional story covered by the production, as well as many details of the behind-the-scenes technical details. Our conversation goes far and wide to cover many details beyond the camera used, the video assist, and mix between footage shot with a Sony Venice, a drone and historical mobile phone footage shot during the actual first meeting of the long-lost twins who are the protagonists of the story. Alessandro and I also discussed how international distribution has evolved over the years and decades that he and I have been consuming and producing content. That included the old DVD zoning system, Netflix versus Amazon Video Direct/Amazon Prime and pay-per-view websites.  Of course, I could not neglect to point out that whether we look at the birthdate of the two pairs of twins covered in the documentary (12-21 as month-date or 21-12 as day-month), all four were indeed born on a palindromic day. I compared the cyclical situation of the pair of twins in this documentary with Medem’s Amantes del círculo polar (Lovers of the Arctic Circle), where both protagonists had palindromic names: Ana and Otto.

You may listen to my conversation with Alessandro Angulo Brandestini in episode 92 of CapicúaFM  (audio only) at any time. However it is in Castilian, not in English. CapicúaFM recently turned 10-years old, has won two awards so far, and recently surpassed 501,872 unique plays in over 161 countries according to Podtrac.

Microphones used in the above CapicúaFM production

Most of the in-studio production in that episode was recorded with the RØDE NT1 Signature Series (reviewed here). The entire in-field conversation with Alessandro Angulo Brandestini was recorded with a single RØDE Interview Pro (reviewed here). Both were post-processed with Descript’s Studio Sound + dynamic compressor before being pre-edited in Descript and finally assembled in Hindenburg Pro, where it was also encoded for final distribution and metadata was added.

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FTC disclosure

RØDE has not paid for this article. RØDE has sent Allan Tépper units for review, including the NT1 Signature Series and the Interview Pro. Some of the manufacturers listed above have contracted Tépper and/or TecnoTur LLC to carry out consulting and/or translations/localizations/transcreations. So far, none of the manufacturers listed above is/are sponsors of the TecnoTur, BeyondPodcasting, CapicúaFM or TuSaludSecreta programs, although they are welcome to do so, and some are, may be (or may have been) sponsors of ProVideo Coalition magazine. Some links to third parties listed in this article and/or on this web page may indirectly benefit TecnoTur LLC via affiliate programs. Allan Tépper’s opinions are his own. Allan Tépper is not liable for misuse or misunderstanding of information he shares.

Here is my review of the new US$149 Wireless Micro kit from RØDE, which I am releasing a nanosecond after the strict embargo lifted. I thank RØDE for continuing to send products under an NDA (non-disclosure agreement) until a designated date and time. With the Wireless Micro, RØDE has moved from «compact» to «micro». The kit is available either in black or white and in either Lightning connector (for classic iOS and iPadOS devices) or with USB-C (for anything recent). Either way, it mounts directly to the phone or tablet, without any cable required. I received and tested the black version with USB-C using the iPhone 16 Pro, thanks to Memo Sauceda. To celebrate RØDE’s acceptance to our request of 25p (25 progressive frames per second), we used that coveted framerate. On the other hand, our request for 50p, (aka 50 fps) is still pending.

The Wireless Micro kit includes a charging case which comes with the two microphone/transmitters and the receiver inside. It is necessary to remove protective tape before first use. The Wireless Micro Kit also includes 2 furry windscreens which we used during the test. I don’t find any way to store the windscreens inside of the charging case, so they need to be carried separately from the charging case.

The Wireless Micro system has impressive published specs, including a maximum SPL of 135 dB, a signal-to-noise ratio of 73dB and a rated distance of 100 meters (about 328 feet). The rated operating time is 7 hours which extends to 21 hours with the included charging case. However, the batteries inside the transmitters are unfortunately not changeable by the user.

Although we used RØDE Capture to make our test recordings, we did confirm that other apps like Blackmagic Camera indeed recognize and receive a signal from the Wireless Micro, so you are not limited to using the RØDE Capture app if you prefer to use a different one.

The Wireless Micro system uses intelligent GainAssist technology, which we already covered in prior wireless devices from RØDE.

The above test recording was recorded in Split mode (not Merged mode) so I would be able mute Memo’s microphone track whenever he wasn’t speaking or applauding. No filtering was applied in post-production, only normalization. For true live or live-to-drive applications, the RØDE Capture app offers the Merged mode.

As covered in much more detail in my Interview PRO review, there is a tendency in certain recent devices to eliminate audio confidence monitoring in favor of visual confidence only. That began with the Interview PRO and continued with the Wireless Micro. Fortunately, the results have been great.

Conclusions

The Wireless Micro kit from RØDE shows the RODE’s continuing dedication to innovation. The total price of only US$149 and the ease of setup will make it attractive to those who want to do dual camera/dual microphone recording with a single interviewer/operator, even one who isn’t a technical expert.

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Reseña: kit de micrófonos inalámbricos Wireless Micro con RØDE Capture a 25p

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FTC disclosure

RØDE has not paid for this article. RØDE has sent Allan Tépper units for review, including the Wireless Micro. Some of the manufacturers listed above have contracted Tépper and/or TecnoTur LLC to carry out consulting and/or translations/localizations/transcreations. So far, none of the manufacturers listed above is/are sponsors of the TecnoTur, BeyondPodcasting, CapicúaFM or TuSaludSecreta programs, although they are welcome to do so, and some are, may be (or may have been) sponsors of ProVideo Coalition magazine. Some links to third parties listed in this article and/or on this web page may indirectly benefit TecnoTur LLC via affiliate programs. Allan Tépper’s opinions are his own. Allan Tépper is not liable for misuse or misunderstanding of information he shares.

Last week, Scott Simmons covered almost everything you would want to know about the new M4 iMac and M4 MacBook Pro models. I’ll focus on the new historic return of the optional matte option on all new M4 MacBook Pro models built-to-order and and most M4 iMac built-to-order. This complements my May 2024 article Historic: Apple finally offers optional matte screen on iPad Pro. Apple calls it «Nano-texture». I call it «matte». Other people call it «antiglare». For its health and productivity benefits, matte is the preferred option by many. Sadly, the option was removed by Apple many years ago in MacBooks. Last week, Apple made the historic announcement of the return of this option with the mentioned models. In the case of supported iMac models, it’s a US$200 upcharge, while with the MacBook Pro models, it’s only US$150 additional. The price and availability worldwide may vary. I hope that the next generation of MacBook Air and iPhones also offer this option, as already offered with the TCL 40 NXTPAPER, certain configurations of the iPad Pro and two external Apple displays.

Lee este artículo en buen castellano

Apple ofrece opción mate con iMac y MacBook Pro

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In June 2024, I published the article Shure Motiv Mix software mixer recorder: Challenger to RØDE Connect? Shure’s powerful new Motiv Mix software was released in April 2024 and is still in ßeta, but continues to progress, albeit slowly. Motiv Mix brought refreshing freedom compared with RØDE Connect, while still lacking a couple of functions which may disappoint some users until they hear about my suggested workarounds. That’s why I invested so much time testing and comparing it and creating the chart I included in the original article. Months ago, Motiv Mix replaced the prior Shure Motiv for desktop computers (macOS and Windows-still no Linux). The Shure Motiv mix app allows adjusting the DSP in certain Shure microphones (including the new MV6-review pending) and the MVX2U interface I reviewed in August 2023. One area where Shure Motiv Mix is more open is the fact that it can allow use with «foreign» (i.e. non-Shure) USB mics and audio interfaces, something that RØDE Connect does not allow directly, although it can be done via third-party software, as I covered in How to use a non-RØDE interface with RØDE Connect using Audio Hijack. Ahead is the 1 (one) feature requested added at my request, and the remaining list of features not added yet.

Although Motiv Mix is now in its palindromic version 1.2.1, Shure actually added my request number 1 back in 1,2.0. Although I expressed my request number 1 as:

1. Add support to save settings, to be recalled after quitting. Ideally, the user should be able to save presets for different productions.

Shure worded the added feature as:

«Save your Activity setup for future relaunches of the MOTIV Mix app»

Although Shure has (so far) only added one of my requests, fortunately Shure added it completely. With that I mean that we can save presets for different productions.

The remaining items include:

• Add support for custom mix-minus for monitoring for each source (even though this feature may need to be only for certain supported Shure devices) as explained in detail in the original article.
• Add a second virtual channel, to connect more than one remote service at a time, like Call In Studio, Cleanfeed, Google Meet, Microsoft Teams, Jitsi, Skype, Riverside, Streamyard, Squadcast and Zoom.
• Add a built-in soundboard for virtual audio carts.
• Add support for Linux, as already offered by Blackmagic DaVinci Resolve Studio and Audacity.
• Add support for other languages, i.e. Castilian (castellano) aka «Spanish».
• Offer more 48 kHz recording options, including 24-bit (in addition to 32-bit float) and also mono recording (in addition to multitrack and stereo) to save 50% space compared with stereo recordings.

Here is the link to the original article:

Shure Motiv Mix software mixer recorder: Challenger to RØDE Connect?

Lee este artículo en buen castellano

Shure agregó 1 de mis 7 peticiones al programa Motiv Mix