Best workflow from HDV sequence to DVD

I have a HDV sequence 55 minutes,
- export self-contained QT movie, about 10Gig. that takes about 2-3 hours,
- sent to compressor 3, 90 mins best quality,
and it want to take 40 hours!!! to do it......
also tried Visual Hub, took 120 minutes, wrote DVD with toast, image was quite good, but sound was broken,and only half of the movie was written, toast reported an error.
have also done a few short tests using compressor and the image quality was simply awful.
love to know what is the best way, and fairly quick, and good quality to get from the sequence to a DVD.
FCP 6

I'm still a bit blown away by the complexities of HDV editing. SD seemed so simple in comparison!
Everything I read related to taking a project from an HDV timeline to an SD DVD project is such a lengthy process. Which brings me to ask this question... I have captured 1080i footage shot with my Canon XH-A1 and with my Canon HV20 and edited the footage in HDV sequences in FCP. At the time I was unaware of there being processes (such as those mentioned in the posts above) for converting HDV projects to SD DVD projects. So, I simply continued the process of burning a DVD with the HDV sequence just as I always have with SD projects. I exported a QuickTime file of my edited sequence and then imported that QT file into iDVD to burn a DVD. I was very much aware that this DVD would not contain high def footage because I was not using a high def burner or high def discs, so I just assumed that the end result would be having my HDV project deliverable on DVD in standard def. And I wasn't disappointed. My iDVD project burnt successfully and soon thereafter I was able to watch the DVD from a standard DVD player. Granted this was not a long project - it was about 10 minutes worth of video - but is there anything wrong with using this process to go from an HDV sequence to a playable SD DVD? And would the process that I just described work for projects as long as 30 minutes or more?

Similar Messages

Best workflow for outputting a SD DVD?

So, I've got a bunch of video shot at 1080i/60 (HDV). I captured the video into FCP using the HDV preset, edited, then exported the sequence using Quicktime and current settings. Then I used compressor to encode for DVD. I used DVD 90 min best quality settings. It takes more than 3 hours to encode for about 50 min of video. Then I use DVD Studio Pro to burn to a DVD. The results are a pretty high quality DVD but I'm wondering if there is a better way? I want the best quality SD DVD I can get. Would I get as good results if I converted the HDV to ProRes for editing?

Rather than encodeing to an mpeg in compressor, I send the exported QT directly to DVDSP and let the program convert it. This works the best for me. Takes out the Compressor step.
I never use HDV, though. I know that HDV changes some things and I don't know how DVDSP operates with it, though it should work fine.
Other possibilities (off the top of my head):
-If you do want to compress to an mpeg, I would recommend exporting an mpeg from FCP through Compressor. Take out the middle step of exporting a QT.
-Make a new SD sequence in FCP, nest your HDV sequence there and export an SD QT. This should work seamlessly with DVDSP.
Any of these workflows will take a long time to encode. Three hours for 50 mins seems pretty right on to me.
Hope this helps,
Stef

Best Workflow for Multicam Sequences?

I have a project that includes video from 2 cameras and audio from 2 audio recorders. I synced everything up using PluralEyes, then imported it back into Premiere. Then I opened the synced sequence, deleted the camera audio, nested the video, and enabled multicam. After that, I started going through and editing the multicam footage by selecting the appropriate camera by pressing 1 or 2 (or command-clicking on the appropriate camera in multicam view). My question is, now that I've synced everything up and finished my rough multicam edits, how do I mark the selections of the sequence that I would like to keep?
For example, part of the sequence is an interview. Instead of just cutting the sequence up, I would like to first mark and label the portions of the interview that I would like to keep. That way I can easily go through and know what the interviewee is speaking about in each clip without having to play the whole thing. I understand that to do this on the original clips in the source monitor, I would need to create subclips. But how do I do it on a synced multicam sequence? Is there a way to open the sequence in the source monitor? What's the best workflow for something like this?
I've been using Premiere for all of two days (switched from FCPX), so any help would be much appreciated. Thanks.

I use comment markers for this sort of thing as I prefer to keep my project bins thin. To open a sequence in the source monitor, right-click on the sequence in the project window and select Open in Source Monitor. Position the play head at a point of interest and press M. Go to Window>Markers to view a list of markers and add comments. When you want to review a marked section click the corresponding marker in the marker window and the play head will advance to that point. Btw, you can do this within the timeline and in any monitor, not just the source monitor.

Best Workflow for TIFF Sequences

Hi There,
I have my ideas but I would like if anyone had an advice to give when working with TIFF Sequences
1) Which Sequence Preset should I use, or better yet which custom settings should I go with when creating the sequence for TIFF use...
If anyone working with PPRO and TIFF sequences has any great advice like what to 'watch out for' or whatever, I would be highly appreciative !
PS - I tried searching the PPRO CS5 forum but no matter what I enter in the search field, it always renders "No Results Found"
This is happening across all adobe's forums - perhaps the search engine has a BUG ===
I am using Safari on Snow Leopard !

I knew about the trick of dragging the media to the seq icon to have premiere pro create the 'right' sequence.
Just thought there might be some better settings for using tiff sequences...
Thanks though..
Regarding batch import of tiff sequences.
For the world of me, I cannot figure out why drag n dropping an image sequence to PPRO would spark the app to import all the tiffs as individual files, instead of setting the "Image Sequence" bit... if the folder contains 1200 tiffs.
Definitely A LOT of improvement that can be done "Image-Sequence-Wise" in PPro - especially when considering the PRO-name in the application name.
Workflow for image sequences is very un-pro in PPRO :-))))
Anyway, I am an AVID Quickeys user and I have programmed a Quickey-Script that will batch import the 100 tiff sequences that I have residing in 100 folders. I click one shortkey and Quickeys iterates through the 100 folders and half an hour later as I came back to the Mac - they had all been imported.
That beats having to manually import 100 times. Imagine I had had 700 clips - ALL - Tiff or other Image Sequences...
Anyway, quickeys is a VERY useful tool for repetitive tasks and saves me HOURS literally every day....
It is made by startly and is worth EVRY penny ! Works with OS X and Windows

How I export from HDV to SD (DVD)... What about HD versions suitable for Macs and Pcs?

Hi,
      I have just finished editing a short movie based on some high res stills combined with some 1080i HDV footage.
   After completing the edit in CS4 (in a HDV 1080i environment) I went through Adobe Media Encoder in order to downsize and converting into an m2v file ready for my Encore project.
   As you probably well know this is far from satisfactory in terms of the down sampling capabities shown by AME as well as the lack of proper colour conversion.
So, after giving up on the Dan Isaacs method, AVI synth didnt seem friendly to this user... as well as the inability of CS4 to frameserve..
My solution was to exported the Microsoft AVI using the HUFFYUV codec at 100% - With Progressive scan, when ever I interlaced my output it showed obvious interlacing in my player, odd or even fields first...
I then used VirtualDub to do the down sizing
Finally Procoder 3 to convert to m2v.
The results still have no proper colour conversion properties but look much sharper than the regular CS4 encode using AME
   OK, that took an eternity to discover and still leaves me with another problem.
I want to export straight from CS4 to media type that can be played on both PC and Macs in HD.
Before I go down another gruop of dead ends and trial and error discoveries, could anyone here suggest a recomended and successful workflow?
   Many thanks,
Phil.

let me see if I can help out a little here.
The problem with converting 1080i to SD in software is that FCP seems to do a not-very-good job of downsampling the image, particularly when you are going directly to DV. Details get blurry, and other compression artifacts become quite noticeable. I have also experienced trouble with the HDV fields not getting processed correctly if I go to SD mpeg directly from an HDV timeline or movie file.
Your best bet is one of the following workflows:
Export a 1080i HDV or AIC movie file and re-import to FCP. Place this clip into an anamorphic SD sequence. It doesn't matter if the sequence is DV or Uncompressed if you send the sequence directly to Compressor from FCP, because this will ignore any rendered material and use an uncompressed image buffer as it encodes the mpeg. Do not letterbox your widescreen video if you are going to DVD - widescreen DVD video should always be full-frame anamorphic.
Your other option is to attempt to use Compressor to down-res the sequence or a self-contained movie of your HDV, starting with one of the advnace format conversion presets in Compressor. However, you'll have to cutstomize the preset by turning on the frame controls, and testing the settings to make sure you are happy with the result. Turning on frame controls will increase the ratio of your encoding time anywhere from 4 to 20:1.
I have tried all of these methods, and none of them look as good as capturing the downconverted video from the deck after mastering to HDV tape.
Hope this helps -
Max Average

Question? Best Workflow HD/HDV and Reframing/Scaling to Export to both HD and SD when working in an HD Timeline?

Just wondering, what is the best method for working with HD Footage both HDV 1440x1080 and HD 1920x1080
Not long been using Adobe Premiere Pro CC, just switched over from Grass Valley EDIUS 6.08 and atempting my first Stage Show Multi Camera.
Source is 5 HDV PAL and 1x1920x180 60fps MP4 file from a Sanyo Handy Cam.
Final delivery is going to be DVD.
Have done a few smaller projects prior to and normally have edited in HDV 1440x1080 50i PAL and exported to whatever format I need.
Slightly different this time, I need to I need to crop/reframe some video from a couple of the Static locked off cameras. I know what to do but at moment though, I'm very much undecided which method to use for best results.
Doing some testing I notice that if I import the footage and edit in my usual HD Timeline as said above, then I go into Motion and Scale and reframe to suit, then the picture still
looks better still Full Screen on my 2nd Monitor in the HD Timeline than if I switch the Sequence Settings to SD DV PAL.
I am wondering how the scaler works when exporting. Say I go with the original HD Sequence, scale the Locked off Shots as I want them, then export to SD DV PAL then does the Adobe Media Encoder take into account that I am working in a HD Sequence (HDV 1440x1080 50i PAL) and then Scale to suit or does upscaling go in an HD Timeline then Exporting to SD make things worse, I am asking this as I still like to have the option to output an HD file for the Web and possible Bluray or Mobile Device later on.
I also still prefer working in an HD Timeline as for the other Camera Angles, then it is easier to judge focus since the image is sharper, as apposed to working in an SD Sequence.
I guess the other option I suppose is to edit in HD and then switch the Sequence Settings later on to SD before Export, but not sure that would work with the scaling? Or is that the same as working in an HD Timeline anyway and then selecting an SD Preset in the Adobe Media Encoder anyway?
I guess what I am saying is, if I say for example, Scale a HDV source to 130% or then export to SD in the AME then, is the AME upscalling the original HDV Source to 130% Loosing Quality firstly (making less pixels that to begin with), then downscaling back again to 100% SD Resolution, loosing quality once more, or does it see that the source is HD and has more pixels to use and take that into account? If you get what I am saying. Obviously if I am exporting to any HD Format then, I understand that where will be some quality lose with any amount of HD scale.
I also read that it is less CPU resource full working in the native resolution of the media when editing, especially on an older system.
The other option is to work in an 720 Preset possiblely?
At the moment I don't have a proper Preview device and am making do with the 2nd Display on my Graphics Card GTX 760.
I was looking at getting a Blackmagic Device for preview, or possible one of the Matrox.
It is a shame really, since I already have the Canopus HD Storm in the PC, which I was using with EDIUS for a lovely full screen preview to a 32" TV, since looked great, so since switthcing to Premiere, I can't use it and am having to make do with the GTX 760. Which isn't as good.
Maybe there is some setting I can alter to get a better Playback Image?
Anyway, I notice that the Full Screen Image from the GTX 760 is not as clear as it should be when editing, especially whilst playing back the image is slightly soft and more so when in the Multicam Mode it is even softer.
I am not sure if this is because my computer is not quiet fast enough? Maybe I should post this in a seperate thread in the Hardware forum, but I thought it was worth mentioned in this post aswell.
SYSTEM SPECS
Gigabyte EP45-UD3LR (Socket 775) Motherboard
8GB DDR PC-800 RAM (4x2 Sticks)
Intel Core2 Quad CPU Q9650 @ 3.00GHz
60GB OCZ SSD (FM-25S2S-60GBP2 ATA Device)
2 TB 7200 Sata 300 Hard Drive - For Video (Hitachi HDS722020ALA330 ATA Device)
Windows 7 SP1 x64
So in short At the moment I am undecided which method is best to use

Your Creative camera is not the best one could wish for. Open a 1280 x 720 sequence, import some Creative footage, use motion scale to fit it in and judge the quality for yourself. My guess is you will be disappointed in the quality. Then when outputting to DVD you will reduce the resolution and quality again, making it even worse.
So, my suggestion is, don't follow that route.
Ultimately you will end up with 720 x 576 material for your DVD. You already need to upscale your Creative footage, and change the PAR and take serious quality hits, do not increase your problems by upscaling and then downscaling again.

Workflow from PP timeline to DVD

Premier Pro 1.5
Encore 1.5
SD 4:3 NTSC 48K 16 bit footage (DV25)
A) Once the timeline is complete in PP, what results in a better quality DVD (all transcodong settings being equal)?:
1) MPEG-2 conversion (Main Concept) straight from the PP timeline and then import to Encore
or
2) Export DV AVI from the PP timeline, import to Encore and transcode in Encore (Main Concept)
or
3) Does not matter
B) Is there any benefit to exporting the PP timeline as an uncompressed AVI or a less compressed AVI (ex: Lagarith) than as DV AVI before importing to Encore for transcoding and DVD authoring? IOW does Camera DV AVI>PP timeline>DV AVI result in additional compresion loss vs Camera DV AVI>PP timeline>uncompressed AVI?
Thanks,
George

George,
It will depend on your source footage (mainly rapid subject, or camera motion), and on the Duration of your Timeline/Sequence. If you have plenty of room on your DVD-Video disc, you can do the bit-budgeting and then Export at the highest bit-rate (up to about 8mb/s), use 2-pass VBR and fit your resulting MPEG-2 onto the disc. I'd still do Export as Video-only and Audio-only (PCM/WAV, or DVD-compliant AC3), rather than as a single muxed file, and Import the MPEG as a Timeline into Encore, and the WAV as an Asset. Just drag the WAV from the Project Panel to the appropriate Timeline and then do your navigation - done. If you have a loner Duration (or multiple Sequences, likely to fill up the disc), do get a bit-rate calculator and remember, the bit-rate will be for both the Audio & the Video combined. If you need a higher bit-rate for your Video, you can make a bit more room by using DD AC3, instead of PCM/WAV - might not be a lot, but might get you a few more b/s in your Transcode.
I do not recall if Encore 1.5 had the Automatic Transcode setting, but in Encore 2.0, I use that most of the time. I just Export my PrPro Timeline as a DV-AVI Type II (Video-only), and the Audio-only AC3 (I do DD 5.1 SS for most Projects), and follow the steps above. I find that the automatic setting will do a wonderful job in all but the most action-filled Sequences. Even then, you can pass on Automatic and set the Transcode manually.
Also, some people feel that there are other MPEG-2 encoders, that surpass the included MainConcept one. Most of these are stand-alone encoders, and in that case, I'd look into one that could handle the Lagarith Lossless CODEC, using that as an intermediate file.
Good luck,
Hunt

Best workflow for HDV 1080/60i/24pA with FCP 5.1.4

I've spent hours trying to find the answer to this specific problem on the discussion forums as well as the FCP user manuals and I can't find it, please help! I've got a Sony HVR-V1U and I recently recorded several hours of footage at 24pA. I would like to edit the footage in 24p, and preferably in a different codec besides HDV and definitely not in AIC. I don't have any experience with Cinema Tools and I can't seem to get any files directly from FCP to Cinema Tools no matter what I transcode the video to. Also, is there any way to transcode the video to ProRes because it is so much faster to render video in ProRes than in HDV.
Thanks in advance!

Removing pulldown is done during capture if you shot 24pa, and in Cinema tools if you shot 24p. However I don't think that camera shoots a version of 24p that works when you remove the pulldown pattern. I could be wrong, but as I recall, the 24fps video that the v1u shoots isn't exactly the same as that shot by say, a DV camera so might not work removing pulldown. Just looked at the specs at Sony on the camera... it does apparently shoot with a 2:3 pulldown, so after you capture, you might try Cinema tools for the removal. Never heard of anyone doing this with HDV though, so it might be pretty problematic.
That said, you should be able to transcode to ProRes in Compressor, and it should look great. Don't use your computer display to judge the quality of the results though, use an external video monitor. Artifact may show up on the computer's display when it's really not in the video...
Jerry

Workflow question - fastest workflow from AVI files to DVD?

I have recently purchased my first Mac (it is fantastic!). I am currently experimenting with both '08 and '06 iMovie.
Right now my main priority is creating individual DVD's of each of my tapes that I have previously captured via WinDV on an XP system. Those tapes are stored, each clip separately, via AVI files on external hard disks.
Now I would like to, as quickly as possible, use either version of iMovie to burn a DVD that simply includes all the clips from a given tape capture. The plan is that these will be simply playable versions (a playable backup, if you will) of all the clips on each tape - I'll come back later and do edits to create "finished" DVD's.
Any suggestions as to the most efficient and quickest way to create the DVD's? (I've downloaded Streamclip also, but am not sure whether that will help me out at this point or not)
Thanks in advance.

Any suggestions as to the most efficient and quickest way to create the DVD's?
The most efficient work flow in terms of application use would likely be iMovie HD here. Assuming your AVI files are "playback" and "conversion" compatible with QT, then they will be automatically converted during file level import for use in whatever project compression format you create for editing. In addition, this work flow offers more in the way of "effects" if desired and allows you to chapter files for iDVD use internally rather than having to go through GarageBand. On the other hand, if you are working with very short source files requiring little or no editing and a minimum of titles, transitions and/or chaptering, then iMovie '08 may be faster in terms of actual editing speed. Both applications have their own strengths and weaknesses and you should probably try a test project with both so that in the future you can select the proper one according to the needs of any given project.

Best workflow from FCE 4.0 timeline to Blu Ray disk?

I'm almost done creating a video in FCE4.0.1 and I'm wondering what everyone's experience is in producing a quality blu Ray disk on the Mac.
I'm using an iMac I7 and FCE 4. I will be buying an external blu Ray writer (suggestions?) and I'm assuming I'll need Toast and the blu Ray plug in to create the disk.
Perhaps not. I know others have already fought this bleeding edge battle so I'm hoping I can learn from your experiences.
I'm looking to output 720P quality. So, suggestions? Ideas?
Thanks in advance.
DC

I have had satisfactory results burning short Blu-ray quality movies using Toast and standard DVDs. I export my work from FCE to QuickTime then import it into Toast. I select the Blu-ray video option (top left) and also select the standard DVD (bottom right). The results are quite good viewed on a HD TV using a Blu-ray disc player. It takes a long time to burn and patience is required, but I have compared the Blu-ray video to DVDs burned in the normal manner, and the results are pretty amazing. This process does not require an external Blu-ray writer, but it will only work for short videos of 20 minutes or so.

Exporting selections from a sequence onto DVD

Hi all
I have edited twenty-four public service announcements on a single timeline. What is the best way to export them, three at a time, onto eight separate DVD's, with the least drop in quality?

Import all of the MPEG 2 and ac3 elements into DVD SP.
Build a menu with buttons linking the first three films. Run it in the simulator to make sure it works.
Burn and save the project.
Click the first movie in the graphic inspector. This will make it's Timeline appear in the viewer. Click the video track and press delete. Do the same for the audio.
Drag and drop the first film for disc 2 into the currently empty container in the graphic inspector.
Repeat this for the other two films. Change menu titles accordingly.
Burn and save. Repeat for discs 3-8.

Best workflow from InDesign to Edge Animate for DPS

I'm working on a DPS project and want to take an article that I designed in InDesign, and bring it into Edge Animate to animate.
What's the best way to do that?

There is no good way to do that but without seeing the layout it's pretty much impossible to give you any advice at all. BTW, The Edge and DPS forums would be way better places to post this.
Bob

Best workflow from print to web?

Hi all,
Let me apologise in advance if this is the wrong forum for this question, but it is Indesign related (kind of).
I sometimes need to make animated web banners that are based on existing print advertising, so the ads were originally put together using Indesign CS5.5 on a Mac.
The quickest way to make the banners is to use the basic animation tools available in Indesign and to export to a swf, but I'm sure there's a better way to do it for a couple of reasons:
1. I should think that the swf produced is probably larger and clumsier than something produced from scratch in Flash; and
2. Isn't the preloaded list of behaviours a bit limited? - producing something that looks a bit 'template' if you know what I mean.
Besides those reasons, if I understand it correctly, flash isn't supported on mobile devices anyway, so I'm going to need to look at a better approach.
So my question is - what should I be learning in order to be able to animate these fairly simple banners, as quickly as possible, using files that started out as print advertising, so that they can be viewed on the largest number of devices?
I have got the trial version of Edge and it seems fairly simple to use, but I can't copy and paste elements from Indesign - I suppose I'd have to export objects and/or groups of objects in my print ads to jpg, and then import them into Edge. That seems a shame.
Sorry it's such a rambling post - there's such a lot of conflicting information around that it's hard to know what you need to know if you see what I mean.
Anyway, any help would be greatly appreciated.
Thanks

Use Edge or find another HTML5/CSS3 tool. Edge is still in beta but it's very solid.
Once it's in release it will be available by subscription or as part of Creative Cloud.
Bob

*** HDV to SD DVD

I've been following the post below for a while now in order to take HDV footage to a SD DVD more quickly but I'm running into problems. The post basically calls to create a DVCPRO 50 anamorphic sequence, and drop the HDV sequence into it (nest it). Sometimes this works, but sometimes the HDV sequence I'm dropping in doesn't resize itself like it's supposed to. It is really inconsistent. Just exporting from the timeline directly to compressor to make DVDs is quality I'm happing with, but it takes about 60 hours to convert a 1 hour film. Can anyone either explain why this may be happening and/or pass along some links to a better (and faster) workflow for going from HDV to SD DVD?
For FYI, here is the post I am referring to:
My new HDV to SD workflow is as follows:
Capture and edit Native HDV in FCP 5.0.4 or later.
Create a DV50 timeline (DVCPRO 50) 4:3 or 16:9 (Anamorphic)
Set the Field Dominance to Upper (Odd)
Set the Video Processing - Motion Filtering Quality to Fastest (Linear)
Drop the HDV onto the DV50 timeline, it will scale / letterbox correctly, you can alter the scale and pan it to your liking on the DV50 timeline.
Export the DV50 as a quicktime movie.
This will be fairly quick, because there are no filters required for the field dominance upper, as it matches the HDV - we will let compressor switch the fields instead. However, because of this, firewire preview will have the wrong interlacing, and appear jerky on movement. You can DV (DV25) preview DV50 rendered timelines, it seems to convert on the fly.
Drop the exported DV50 movie into compressor.
Don't add any conversion settings yet, click on the DV50 line, and bring up the inspector window, change the Native Field Dominance to be Upper - same as was in the timeline.
Now add some DVD conversions, match 16:9 conversions with DV50 Anamorphic movies, and 4:3 with regular DV50. Use the 2 pass setting. Because we set the Native Field Dominance to Upper, the MPEG-2 videos will have their Field Dominance set to Top First - this is correct.
Submit.
Timings: (1 min 56 sec timeline) on 1.5 GHz G4
Save DV50 from timeline 10 to 11 minutes
Create 2 pass MPEG-2 from DV50 - 30 minutes
Total time, for 1 min 56 sec of HDV to DVD, 40 minutes on 1.5GHz G4
Previous time, going from the timeline via compressor was 68 minutes.
Create DVD's from those assets, they seem to be the best quality possible in the fastest turnaround time, and using DV50 as an intermediate seems to remove the darkening problems of None, has a colour-space that matches the final MPEG - unlike DV (DV25), and does not require too much HD space. It also creates the MPEG quite quickly too, because the DV50 decode is pretty fast.
If this set-up works for you, and improves things over what you are currently doing, let me know. If it does not, let me know why not! If you think there is a better quality method, share it!
Now, over to you guys, I need some feedback and some advice from the pro's:
With the Upper (Odd) / Top First Field Dominance, from FCP through to Compressor, a lot of time is saved when making the DV50 movie, because it does not need a shift fields filter, BUT, will there be problems with a MPEG-2 that has Top First field dominance on certain DVD players ? It seems to work on the players I have tested. It is possible to do the Lower (Even), Shift Fields +1 filter and Bottom First MPEG workflow, but it is quite a bit slower, although it does preview over firewire on DV properly. Any thoughts from someone who knows this stuff better than me - is the end result the same, or am I relying on the DVD player handling the MPEG properly ?
All thoughts welcome.
Some other updates:
I had a lower quality export of a HDV sequence, to an HDV quicktime movie. I have tried all evening to track it down, and post, definitively what it was, but I am at a loss. I can't reproduce it. I thought it was to do with conformed vs. un-conformed timelines, but they now seem to produce the same result.
Well, this is interesting anyway, Choosing Sequence -> Render All -> Both (and make sure everything is ticked), you will get a long Conforming HDV Video step. Now Print to Video won't repeat the (first) Conform, and happens quicker, and exporting the movie happens a lot faster too. Make sure you have filled any gaps with slugs, gaps will slow things down, even after the conform.
Timings:
1 min 56 sec timeline, about 14 cuts only HDV edits, just a rough cut.
1.5GHz Powerbook G4.
Save HDV from unconformed timeline: 10 minutes
Conform Timeline: 8 minutes
Save HDV from conformed timeline: 1 minute
Weird, huh ? Why doesn't it just conform, then export ?
PowerBook G4 Mac OS X (10.4.4) Z1U
The prob

I've followed Bonsai's instructions to create DVDs from HDV footage from this link:
http://www3.telus.net/bonsai/Welcome.html
But my current problem is that when I drop my HDV sequence into the DV50 timeline, it doesn't resize and scale at all.
Here's a photo of my canvas for reference:
http://i172.photobucket.com/albums/w27/bcpatters/canvas.jpg
Does anyone know why this is happening and how I can solve it?

Best workflow PAL (Avid DV) to NTSC

Hi friends,
I received a 2-hour concert video (I was informed that this is going to be 16:9) from Prague with the following Item Properties (from FCP):
Creator: QuickTime Player
Vid Rate: 25 fps
Frame Size: 720 x 576
Compressor Avid DV
Data Rate: 19.3 MB/sec
Pixel Aspect: PAL - CCIR 601
Field Dominance: Upper (Odd)
Originally, this file shows from "Get Info":
Dimensions: 1024 x 576
Codecs: AVUI, AVdv, AV1x, Linear PCM, Timecode
I had to download the Avid QuickTime Codecs LE 2.1 from Avid's site to have FCP recognize and accept this PAL file.
Question...
What's the proper setting for FCP (7.0.2) prior to importing this file (Easy Setup, etc.)?
When selecting NTSC using DV-NTSC under Easy Setup then importing this PAL file, my canvas is showing squeezed image (the people appear much taller) knowing that the intended 16:9 is not properly displayed...
What is the best workflow from FCP to Compressor?
What is your recommended settings once in Compressor (with a 16:9 final output)?
I tried using the DV NTSC from Advanced Format Conversions but the preview still shows the squeezed video.
Any other tips for this noob greatly appreciated. Thanks in advance!!!

You're good to go
I think you should leave the field filter alone, for now.
Now edit away.
when you're done export a MOV file, using "current settings." that leaved the codec as it is in the timeline. This file can be either self contained or non-self contained. The former is an archive and the latter a reference that can be deleted later.
Then bring the rendered MOV into Compressor. Apply the DVD presets for M2v audio and ac3 audio. Those two files will then go into DVD Studio Pro for authoring.
The settings for DVD video and audio can be adjusted for compression and other settings. You'll want to make sure that it's set for PAL and 16:9

Best workflow from HDV sequence to DVD

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