Can you spot any glitches in this workflow for my projects

I have been going back and forth on this topic of what format to use for my projects and have proposed various solutions which have not worked out because of some issue I overlooked. After much thought and a lot of reading, I came up with this one: I want to produce dvds for computer viewing only, using FCP HD and DVDSP 3. I'm using graphic sources ONLY, created in Motion 2 and Photoshop CS2 with music files created in Logic Pro 7, no footage. I plan to use the DVPro HD 720p 24 for the format in FCP and Motion. Since I am not using captured footage in the projects, I thought I could use just the portion of the area of the 720p screen that I would need for DVD output, which is 720 x 480, by marking it off with guides. All of the graphics from Photoshop and Motion would be brought in at the regular 720p dimensions but the content would be only in the same 720 x 480 area of the screen. When the project is done I would export it as a Quicktime movie at full size and bring it into Compressor 2. I would then use the setting for preparing it for DVDSP but I would crop the size to just that same 720 x 480 area where I limited my content. My hope is that because the dimensions are those for NTSC DV, that my pixel aspect ratio will remain square and not getsquished, and with progressive scanning it will look fine on a computer screen. Does this plan sound like it will accomplish the result I'm looking for?

The lumina shifts out of the wipes are a result of the H.264 encoding...it isn't on the original footage. I can't figure that one out...I tried exporting out of FCP, converting with QT AND Compressor and got the same result. Scratching my head there...
The 3-way CC was good in many cases, but when it came to the marsh grasses, it had some difficulty. Mainly in separating the blues and greens, and getting rid of the general haze of the shot. MB and CF were able to dig out the colors, but yes, Magic Bullet had more...vivid sepiad colors. That is a result of using the Color Reversal template and futzing with it, and my inexperience with MB. Color Finesse was much more familiar to me, and I was able to get STUNNING results. This is why I chose that shot for CC, because it appeared to need the most work.
I was able to get better results with the 3-way with other footage. Most of the other footage was shot with a distinct blue tint to it, but that is easily fixable.
I don't fault my DP too much. I asked for test footage to play with, and he did a days work, on his own time, for me to work on. The other stuff I was previously working on was for a project I am just wrapping up, and the footage was not allowed to be posted.
All in all I feel this footage has a very cinematic feel. It is easy to work with at full resolution, doesn't take up all that much space and very very pretty to look at. The big issue that will arise is the fact that the 23.98 timeline offers ONLY NDF timecode...not DF. I have to deliver a 59.94 d5 at 10-bit uncompressed, and that allows for DF, but my timing will have to be adjusted. Just how it will is something I will be exploring as the projects plods on.
Shane
"There's no need to fear, UNDERDOG is here!"

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