Best options for converting keynote slides to DVD?

Hi:
I'm working on creating a Keynote presentation that will eventually be a loop running on DVD. Exporting the presentation directly to Quicktime and then using Final Cut/DVD Studio Pro. Unfortunately, the quality of the images (as mentioned elsewhere) can look pixelated, especially with text on background.
Any suggestions/links to sites that can help us out on these issues? We're not married to the idea of using keynote either - If there's another method (such as creating the slides as Photoshop and then creating a slide show in DVD SP) we're open to any options that will give us a clean/clear output for playing the DVD.
Thanks!

Edit your video in FCE/FCP and export it to Compressor.
Use one of Compressor's DVD encoding options in the default setting or make your own custom setting if you know what you are doing.
Burn it in DVDSP.
You will also hear some other weird and wonderful recipes. The ones I have tested take absolutely ages and result in no tangible improvement. By all means try them but don't be surprised if you waste your time.

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I using iPad 2.

"Re: Best options for exporting a sequence and making a DVD" and "I'm using iPad 2" and "My phone number is not verified!" don't seem to be entirely related. Can you please restate your question?

Best options for uncompressed HD master?

I've just finished my first feature-length project in HDV on FCP, and I have some questions about output. In the past I've always been editing SD DV under 60 mins, so master output was always easy. But between the HDV and the 90 min. run time, things are a little more complicated.
We shot and edited in native HDV 1080/60i. We've rendered our final master sequence in HD ProRes, but I don't know where to go from here. These are my main questions:
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Ken Summerall, Jr. wrote:
The absolute best quality that you are going to get is by exporting a QT movie using current settings and making it self contained. Since you shot and edited in an HDV sequence this will add no further compression (remember that HDV is already heavily compressed).
Uh-oh. That's not actually correct.
HDV is relatively unusual as shooting formats go, in that it's a GOP format, as opposed to an I-frame format. In I-frame formats, each frame of footage (or pair of fields, if you're shooting interlaced) is compressed all by itself, independently of all other frames (or field-pairs). But in a GOP format, a number of frames are compressed together — that's what "GOP" means: "group of pictures." The first frame is compressed independently, then the next frame is described in terms of what's different from the previous frame.
When you edit HDV +and then export it as HDV again,+ whether to videotape or to a Quicktime, the GOPs must be "conformed." As you edit, you make cuts that break the GOP structure, so the timeline cuts from the middle of one GOP to the middle of another without including the first frame on which that second GOP depends. So when you export or lay off, Final Cut has to go through and convert a bunch of I-frames to B- or P-frames, and convert a bunch of B- or P-frames to I-frames.
In essence, exporting or laying off HDV imposes a compression hit. You will reduce the quality of your footage.
Since the question was about the best option for mastering, HDV is +definitely not it.+ Would it be okay? That depends on the footage, and on how picky you are. But it's not the best option. The best option is to master to a (ha ha) mastering format. Uncompressed 8-bit, Uncompressed 10-bit and ProRes are good choices here.
As for tape … that's tougher. You can absolutely send an uncompressed or ProRes Quicktime file to a dubbing house and get it laid off to videotape, but the question is to what format? HDV is a poor choice, because of the aforementioned compression hit you take when conforming the GOPs. DVCPRO HD would actually be a step down for you, because it would downsample your 1440x1080 native footage (or your 1920x1080 master, if you chose to upres) to 1280x1080.
That leaves HDCAM and HDCAM SR. If you've done things like color correction or compositing in a 10-bit color space — or even long-slow dissolves to or from black, which is one of the places where 8-bit really falls apart on you — choose HDCAM SR. HDCAM is an 8-bit format only, and you'll lose color precision if you go to that format. But if you stayed 8-bit all the way through your workflow, then you can go to HDCAM without any real problems.
Note that both HDCAM and HDCAM SR +are compressed formats.+ Your only option for uncompressed HD videotape is D6, and good luck finding a Voodoo recorder nearby. But HDCAM and SR are good enough for professional mastering, so they'll surely be good enough for you as well. And they're both available in 94- and 124-minute lengths, so you can master your whole feature on a single tape.
(While you're at it, consider getting your uncompressed or ProRes master file dubbed off to a data tape format as well. You worked really hard on this project, so it makes sense to be a little paranoid about preserving the fruit of your labors.)

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?[email protected]

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Best options for converting keynote slides to DVD?

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