DVCPRO HD downconverting to SD & MP2

I've searched the forum and haven't found the exact answer to my problem.
I have a music video in DVCPRO HD 50i. I want to make a DVD, a PAL SD version, and a smaller Quicktime version to play on computers.
I've made the SD versions by putting the DVCPRO HD file into a Uncompressed 8-bit SD timeline, outputting it, and making MP2 copies from that.
When viewed on a computer, all of the SD versions have the bumpy steps along hard edges when watched on a computer monitor, much like all DV does (and like especially DV-compressed titles) when viewed on a monitor. But the full-res DVCPRO HD version does not -- it's looks nice and smooth.
So, what's the best way to output an MP2, DV and drastically-scaled Quicktime file from a DVCPRO HD 50i file?
Thanks
G5 quad, 4G RAM Mac OS X (10.4.8)

try using Bonsia's method:
http://www3.telus.net/bonsai/Welcome.html
adapting that to your chosen workflow...
for the PAL SD version go into your Uncompressed 8-bit SD timeline's sequence settings, and under the Video Processing tab, change the "Motion Filtering" setting to "Fastest (Linear)". also you might want to add a Channel Blur of 1 pixel or less, which helps to reduce shimmer introduced by the fine detail of HD (which is too fine for SD!)
make the DVD from this PAL SD version (as before)
for the web version, compress to H.264 either directly from the HD original or from the above Uncompressed 8-bit SD copy

Similar Messages

Downconverting DVCPRO HD to DVCPRO 50

Hello all,
I searched the forums on this broad issue but no posts seemed to discuss my specific prob.
I shot on the HVX-200 in 24PN and began downconverting my imported footage (DVCPRO HD 720PN 24fps) to DV50 23.98. I noticed that media manager could do the job fine but the one issue was the slight aliasing that would occur in the newly downcoverted DV50 23.98 quicktime. It's not even that bad (i.e. It looks less aliased than when you de-interlace an interlaced clip, but it doesn't look right, none the less). I tried downcoverting it several times, experimented with selecting interlaced and progressive settings, among everything else I could think of but the could not figure out the aliasing issue. Then I tried exporting from the Viewer (with the HD clip open in it), no change. Finally I placed the DVCPRO HD clip in a matching sequence (DVCPRO HD - 720p24) and it FINALLY downconverted to a DV50 23.98 quicktime WITHOUT the subtle aliasing.
I had an online editor check it out to see if I was crazy and the only explanation at the time he could think of is the issue was connected to the simple fact that FCP is best described as "field based" and only when the clip was exported from within its matching sequence would it downconvert without the aliasing issue.
The frustrating thing about this is I'd have to manually downcovert every single clip from the timeline, or dump them ALL into a timeline and downconvert, THEN bring in that newly DV50 23.98 downcoverted clip and start subclipping just to get all my footage seperated into clips again.
And no, laying all that footage to tape isn't an option. Shouldn't have to be since I can successfully downconvert, but just can't do a batch process.
Does this all boil down to Media Manager's "recompress" is not technically the same thing as "downconverting" and doesn't guarantee perfect results?

Hey Jx,
For production purposes, there are features in camera such as the varicam overcrank/undercrank ability and others as well that I wanted to take advantage of (I believe 24pNative is only available in HD mode as well, which mainly I just used for it's smaller file size as I was using P2 cards). And the use of P2 cards, eliminating capturing.
For post production purposes, I wanted to be able to deliver my show (a music video) HD down the road and deliver SD for the time being. Plus, I do all the VFX shots with the HD clips for the reason of just working in higher res (cleaner, easier compositing), plus I then have the ability to reframe (i.e. rescale shots) with the HD clips at their 960x720 frame size down to NTSC's 720x480. E.G. I wanna zoom in 20% to crop out a boom mic, etc. I can do it with (essentially) no quality loss.
That's all I can think of at the moment. Hope you buy some of these reasons cuz they were advantages for me. Also, I can't technically explain it but common belief seems to be the downconverted (from HD) DVCPRO 50 shot will look better than the in-camera DVCPRO 50 shot. That statement might be false "a priori" but it wouldn't be the first time I say something foolish. Thanks for posting.

Mixed Media: 720p 60 + DVCPRO 50

Hi all,
I've searched the forums looking to answer this question, and may have actually found the answer more than once but have now thoroughly confused myself into a corner, so I thought I should just post.
What would be the best method to work with 720p60 HD footage and DVCPRO 50 footage in the same timeline?
All media has already been captured; recapturing with a hardware/deck/camera-based downconvert is no longer an option. Final output is to an SD DVD, in both NTSC and PAL (for which I'll be using Natress' Standards Conversion).
I've been able to work with both formats in a variety of timelines, including Uncompressed 10-bit, DVCPRO 50 and so on, with each yielding slightly different results (letting FCP handle the rendering required). I'll be slowing down and reversing some clips, doing some desaturating, color correction, and adding grain here and there, so different combinations look better and worse depending on the sequence preset and the format of a particular clip, but none is consistently good for both formats.
I'm assuming the correct way to approach this is to standardize the formats between the two sources -- in this case I'm figuring the best option is to downconvert the HD to a friendly SD (like DVCPRO 50, for example).
Based on one of Shane Ross' posts I tried Media Manager, but I was given a warning that the frame rates didn't match and that I could either abort or preserve the framerate of the source (720p). Is the only other option a time- and drive space- costly conversion via Compressor?*
*Um, yeah, important note: I've already done a bunch of editing on this project, naively (perhaps) believing that I could go about downconverting later on, but I did this thinking that Media Manager could easily convert and replace or create a new project with the downconverted media.
Any advice would be extremely appreciated.
Did I mention my deadline is in two days?
2x2 GHz G5, 4GB RAM; 1.67 GHz 15" PB G4, 2GB RAM Mac OS X (10.4.7) SATA RAID; G-RAID (x3)

Hey Pat, thanks -- your post gets to the heart of my troubles. (Shane's does too, in the sense of technical specifics, e.g. please forgive any slightly misstated specs in what follows...)
The 16mm footage, which was originally 24 frames per second, was transferred to DVCPRO 50 (interlaced NTSC, 720x480, 29.97) before being captured (and it looks great). The few bits of DV were actually shot PAL (progressive) before being transfered to DV NTSC (interlaced), prior to capture (I had no say here, this is how I received the material -- which, by the way, looked pretty nasty).
The HD footage was shot 720p 60, which I'm understanding means 960x720, 'p' for 'progressive' and 60 frames per second. That last part has confused the heck out of me -- I know it's possible to shoot faster than NTSC's run of the mill 30fps (okay, 29.97), but for some reason I thought this was an unusual circumstance (as if it needed a special camera or tape stock or whatever). I also understand the potential benefits when it comes to shooting a higher frame rate, like if you're planning on doing speed changes (especially slow-mo), but am I wrong to think that 60fps is unusual?
Let me clarify a little. I know 29.97 is standard NTSC video, but according to the info within FCP (and in my bins), 720p 60 means 60 frames per second, not fields per second (which would indeed be 30 frames per second, or 29.97). If, however, the format was called '60i' this would mean that it was indeed 60 (or 59.98) fields per second, giving us 30 (or 29.97) frames per second. Please let me know if I've got this right.
Assuming that's correct, then the 720p 60 is never going to play nicely with the DVCPRO 50. Even if I take the clips that I want to slow down and change their speed in a native timeline (720p 60), those rendered files still won't look good back in the DVCPRO 50 timeline (progressive vs. interlaced, 59.98 fps vs. 29.97 fps). It would seem to me that the best way to deal with this is to take the 720p 60 footage, make the speed changes in a native timeline (BTW, which way: using the speed controls within FCP, or Twixtor, or some kind of Cinema Tools conversion taking advantage of the 60fps?), and then output or convert this clips somehow before placing them back into the non-native DVCPRO 50 timeline. Make sense?
My original hope was that the frame rate would be a minor concern, rendered nicely in the DVCPRO 50 timeline, and I was optimistic by how easily they seemed to mix together prior to making any speed changes. This hope was further dashed by the different results yielded by some of the film effects, like adding grain (which I now have a solution for: make all of my speed changes, finalize my edit, output a final version, then import that movie for applying additional effects, which will no longer vary according to the source footage specs, such as frame size and frame rate). I know it'll wind up being more complicated than this (for example, if I've got a cross dissolve between a 720p 60 clip and a 16mm clip (transferred to DVCPRO 50), applying a 24p film effect to the HD footage must be done independently (since the 16mm clip already has a 24p look to it), output (or rendered?), a then dropped back into the edit before outputting for final effects, such as adding grain).
Phew. Sorry if I've overstated anything, I just want to be clear. Answering any of my questions above would be a huge help... and yes, my time is running out. No pressure.
Maybe I can help things along by restating my questions (simply):
1. What is the best way to apply speed changes, including reversals, to 720p 60 footage?
2. What is the best way to insert speed-altered 720p 60 clips into a DVCPRO 50 timeline?
3. What is the best way to apply a 24p frame rate effect (courtesy of Nattress' Film Effects) to this mix of 720p 60 and DV? (None of the DVCPRO 50 requires this filter because it was all originally 16mm film, which already appears to be 24p)
Thank you for your help so far, and thanks in advance!
P.S. - Sorry, another thought just occured to me. Say my cut is locked, couldn't I also opt to output the edited 720p 60 clips I'm using from a native 720p 60 timeline, then convert these clips using Compressor and re-import them into my project?
I've read elsewhere that Compressor's format conversions are pretty spiffy, if time-consuming, but I'd only need to do this to a handful of relatively short shots. This way I could import the clips as DVCPRO 50 NTSC (interlaced, 29.97, 720x480), then apply other effects to all of the clips (like 24p, grain, etc.)...

Mixing DVCPRO 50 with DV

I am about to start a project shooting both formats at 24p. The DVCPRO 50 will be at 24p advanced. I am not sure about the DV but I might get both advanced and non-advanced footage.
As the majority of the footage will be shot DV, I imagine it is best to cut on a DV timeline. Is that a correct assumption?
Is the DVCPRO 50 footage being down-converted to DV for editing?
If someone cold suggest a workflow using this above scenario I would be forever grateful.
Thanks,
Tony

Capture everything at the same codec. If the majority of the footage you have is DV, then capture at the DV/NTSC codec...yes, downconverting the DVCPRO 50.
DO NOT MIX FORMATS. Choose one. 30i, 30p, 24p, 24pa. If the DVCPRO 50 camera is capable of 24PA, why shoot in that format if the DV camera, that is shooting a majority of your footage cannot? Why shoot 24PA? What is your FINAL DELIVERY going to be? Tape? Then don't shoot 24PA. That is meant for film out or DVD release ONLY.
If you want the 24p "film look," then shoot 30i and use the Film Effects plugin from www.nattress.com. This way you ensure all your footage looks the same. shooting one camera 24P, and shooting another at 30i and using nattress to make ti 24P will give a different look.
Keep things simple. One format...one framerate. It helps no one to complicate things.
Shane

Dvcpro 50 vs regular dv with the HVX200

what are the advantages with shooting dvcpro or dvcpro 50 vs regular dv with the HVX200? Is the image quality better?

Just thought I'd expand on the "already mentioned" as I'm currently working on a project with all the mixed media the HVX-200 can give you (i.e. DV, DV50 and DVCPRO HD). Since I'm not finishing HD (but leaving the project "open" once completed so it could be matched back with the HD dailies of course) I chose the middle ground and brought everything to the DVCPRO 50 playing field (i.e. downconverted the HD to DVCPRO 50 and upconverted the DV to DVCPRO 50).
I didn't put much research into it but rather quickly ruled it out, that there is no way to "edit" (in the traditional, non-linear sense) in FCP with some footage in DV format and other footage as DVCPRO 50, like the others mentioned you have to render whatever footage isn't the matching format for your sequence. I.E. not sure how one edits freely when you can't make a move without having to render.
So if your show is Uncle Leroy's wedding for distribution within your extended family, I suggest downconverting your DVCPRO 50 to DV and work in a DV timeline, if you're show's for broadcast, upconvert your DV to DVCRPO 50 and work in a DVCPRO 50 timeline. If your show is classifiable as a "fan film", stop making those things, I hate them.

How much leeway for blowing up when downconverting HDV to SD?

Hi. I'm trying to understand how much I can blow up a HD/HDV image when the final format for a project is an SD DVD. How much and why...
I'm working on a DVD of a play. The producer thinks our wide shot is too wide. She wants me to blow it up whenever I use it. I ran some tests blowing up our footage (1440 X 1080) by different amounts and downconverting to SD. I found that I can blow up to 110 pct with no noticeable loss in quality, to 120 pct with some loss in quality (more noise, images are softer), but not so much that I can't use it, and to 150 with so much degradation I can't use the shot.
These results are in-line with my past experience.
My question: why? If I shot on 1440 X 1080 and am using those values for my timeline, and if I'm downconverting to 720 X 486, shouldn't I be able to blow my original footage up to 200 pct with no loss in resolution? Am I missing something? Or is there a flaw in my workflow? Here's how I did the tests:
Export four separate videos from a 1440 X 1080 timeline. Each video was of the same clip. Video one was not blown up at all. Video two was blown up to 110 pct, video three to 120 and video four to 150.
I converted all videos in compressor using DVD best settings for 90-minutes (SD, NTSC, 16:9), burned a DVD using DVD SP and watched it on a flat screen TV.

This is how I'd deal with this ...
Create a new sequence that is DV/DVCPro NTSC 16:9 anamorphic
Put the HDV material in that timeline.
FCP will scale down the material to fill the screen.
In a shot where I want to have a larger image, I'd put it the viewer, go to the Motion Tab and adjust. I can to bring the material back to 100% (which will double the apparent size) before any degradation of image.
When finished, export as "current settings" and use that file in Compressor to generate the files to build the DVD.
good luck,
x

DVCPRO HD - 24p from HDX900 not smooth

I am preparing to do an HD project on my FCP system. This weekend I ran some tests by downconverting a DVCPRO HD test tape w/ 24p and 30p footage with pans and other stuff to Beta-SP AND separately capturing thru FW400. The DC went thru an AJA SDI to component converter. Sweet little box. The Beta downconvert and resulting edits worked with no problem. The FW capture and edit (from a 1200a deck) led to mixed results.
If the edit timebase was 23.98, everything looked okay, but since my final output is SD via compressor, the SD file compressed from that timeline (to uncompressed 8-bit) showed problems in intrepreting the pans - the single problem I'm getting is an extra, duplicate frame of video every five frames.
This can be counted by pressing the forward motion cursor several times. Every 4th and 5th frame are the same. When you play it's a juddery effect. The Beta doesn't show this. The original 23.98 timebase timeline doesn't show this. Other manifestations of timelines (29.97) do. I believe this is 'normal' 24p footage. I captured with an easy setup of 720p24 and 720p30 to see if one got rid of the problem, but it didn't.
My ultimate goal is to downconvert to Beta first, so it won't affect me. But what if I wanted to go direct, as many recommend I do? I'd be in a bad way. So, what might I be missing? Much appreciated.
Chris

Just to clarify, (forget about the Bea downconvert part of my story) the way I'm going in this case is cutting the HD on a 23.98 timeline. So far, thankfully, that works. What's not working is the down-format. Ultimately, that will be in the form of a Betacam SP or DVCAM dub and certainly an SD DVD.
When I create the uncompressed 8-bit file in compressor, and reset the EZ setup in FCP to the BMD Decklink extreme codec, the remported file shows the camera pans displaying the extra fifth frame. I'm just trying to find a way to smooth out this part of the process. The experts on the group say creating SD through compressor at the end of the line is the thing to do. So I'm not so certain any of this points to my going the wrong way. But I'll be the first to admit I'm at my infancy in experience with HD and 24p. It get's a bit confusing.

Kona DVCPro HD to HDCAM Cross-Convert Question for Shane Ross

Hi Shane (Or anyone else whose done this)... Shane posted the comment below at Creative Cow Oct'06:
Quoting Shane: "...because with FCP I can capture DVCPRO HD 720p 23.98 and edit at full resolution. When I lock picture I can, with the use of a Kona 3, cross convert to 1080p 23.98 via the hardware and output to HDCAM."
GREAT! I want to mimic this workflow!!! I have a completed project that was edited as above in FCP (based on your creative cow video tutorial). I shot with the HVX200.
1. Are you happy with the cross-converted 960X720 DVCPro HD footage to 1080p 23.98 quality? I'm assuming this is 1920X1080...
1b. Why not 1280X720? The original .mxf. Seems like that would provide better resolution . What am i missing?
2. Any Artifacting/aliasing? How did titles and transitions hold up? Did the reds bleed?
3. Are there any new advances that you've come across that i should look into as well?
4. And, can you be more specific about how you did question # 1. What codec; Does it come with the card or is it in FCP? What VTR do you suggest?
5. Can i do the above with a BlackMagic card? Which one?
6. What am i forgetting to ask?
Big fan, your posts have saved me hours of headaches over the last 5 months. Cheers...
Hayden
Mac Pro 2.66, 2GB ram, 250GB system, 1TB internal raid, ATI x1900xt and NVidia 7300GT Mac OS X (10.4.8)
Mac Pro 2.66, 2GB ram, 250GB system, 1TB internal raid, ATI x1900xt and NVidia 7300GT Mac OS X (10.4.8)

1. Are you happy with the cross-converted 960X720 DVCPro HD footage to 1080p 23.98 quality? I'm assuming this is 1920X1080...
Absolutely. It looks great. But, this is HDCAM, so it is anamorphic HD...1440x1080. Since DVCPRO HD is anamorphic as well...it all works out.
1b. Why not 1280X720? The original .mxf. Seems like that would provide better resolution . What am i missing?
The network delivery specs require a 1080p 23.98 master on HDCAM or D5. They chose that because you can convert that into anything.
2. Any Artifacting/aliasing? How did titles and transitions hold up? Did the reds bleed?
No artifacting or aliasing whatsoever. Titles and transitions all held up. No bleeding in the reds.
3. Are there any new advances that you've come across that i should look into as well?
ProRES...that will come with FCP 6. I'll be playing with that codec when I get my hands on it.
4. And, can you be more specific about how you did question # 1. What codec; Does it come with the card or is it in FCP? What VTR do you suggest?
It was really VERY simple. The Kona 3 has an option in the Kona control panel to cross convert 720p to 1080p. We chose that. Then we blacked the first 3 min of the tape, then used EDIT TO TAPE to output. The card did everything. Not sure about the model of the VTR...it was the Sony HDCAM deck (not HDCAM SR).
5. Can i do the above with a BlackMagic card? Which one?
I don't know if any of the Blackmagic cards can cross convert. You'll have to ask them.
6. What am i forgetting to ask?
Where you can send the check for all the workflow advice I am giving to you (and everyone)
Also, how did we deal with our downconverted masters we were also required to deliver. While the network wants an HD master, they don't air HD. They air in SD from a digitbeta master. We had to do a separate output to digibeta with all the graphics properly sized for letterbox output.
Shane

Down Converting DVCPro HD to SD using Compressor 2

We just recieved and installed Final Cut Studio...
Everything that we are shooting and editing is in the DVCPro HD format.
From time to time, we need to Deliver this footage on DVD. With Compressor 2, I understand that you can take the DVCPro HD files and Downconvert them to Standard Definition.
My question is how do I accomplish this?
Do I just load the DVCPro HD file into Compressor, and enter in a Standard Definition MPEG2 Preset, and compressor will do the downconversion?
Thank You in advance for any help!!

Do I just load the DVCPro HD file into Compressor, and enter in a Standard Definition MPEG2 Preset, and compressor will do the downconversion?
Yes, that should work. However, if you don't like the results you may have to try some "tweaks" to the preset. The Compressor help files (electronic manual -- PDF) will have information on this.

Can't get a decent SD DVD from DVCPRO HD material

We made the jump to HD and started shooting in DVCPRO HD (1080i60). We still deliver all of our final shows on standard DVD. I've been trying all week to come up with a workflow that will make a decent DVD from DVCPRO HD timelines, but I just can't get a decent image. First i tried just using the 2 pass best 90 minutes setting, and the dvd looked awful. Lots of heavy artifacting everywhere. Surfed the forums a bit, and someone recommended that I first convert the DVCPRO HD movie to SD 8 bit, then make the mpegs from the 8 bit movie. That helped a little, but still had artifacting in shoulders, hair, etc... So then I turned frame controls on and used the best setting for the resize filter when going from HD to SD 8 bit. This made further progress, but is still a lot worse than other SD dvd's I make with DVCPRO 50 footage or even mini dv footage. Anyone have a workflow out there that will give me a decent looking DVD? I can't seem to crack the HD to SD code.
I'm using Compressor 3 on a G5 quad.

I still haven't found a way to make this work in compressor, but I have found a workaround for those of you with a Downconverting capture card and a tape deck. I use the component out of my aja card which automatically does a hardware downconvert of my 1080i material to SD anamorphic. I print to tape using my DVCPRO 50 deck, digitize the tape as DVCRPO 50 anamorphic once the tape has finished recording, then use SD DVD presets in compressor as normal. MUCH MUCH better looking DVD's. It's a pain, but the hardware downconversion in the KONA card seems to be light years ahead of anything compressor can produce using software.

10 bit 1080/24P HD, downconvert in software?

I have 10 bit HD (from D5) 1080/24P material on a firewire drive for editing on a MetaSan dual 2.5 (8G RAM). Running FCP 5.02 with 10.4. It was encoded into a Blackmagic codec quicktime.
Material is supplied from telecine on FW drive (only have SD Kona card on system.)
I can't view material clearly so must downconvert. Can I downrez to DVCPRO-HD in software using Compressor?
I'm in over my head right now. My last project was DVCPROHD and it went fast and well. This 10 bit work flow is sending out warning lights.
This is for a feature trailer, need to show to investors in boardroom on HD Plasma or DLP.
thanks ,
Caleb
Good Film Maker, Bad workflow artist

Here's a test for you and them to run.
Take a series of respresentative clips. Wide gamut, fast action, brilliant colors, b&w, and so on.
Bring each clip into Compressor and generate a ProRes4444, ProResHQ, ProRes standard and ProResLT version.
Import all the clips into FCP and put the original 10 bit clip on the timeline then superimpose each version of the ProRes conversion using the Difference Matte. What do you see?
Now put each clip through the scopes and compare. What do you see?
Now play each on a broadcast reference monitor. What do you see?
I'd be willing to bet std ProRes will be fine. The bigger question is how much support Apple will be offering for ProRes as a legacy codec in 10-15 years.
Please report back.
x

DVCPRO HD 720p24 Convert to SD

Need your help once again.
I just completed my first "HI DEF" edit.
All footage was DVCPRO HD 720P24 and edited in like sequence... all went fine and an DVCPRO HD master is complete.
Now the client wants a standard def version and I'm having a hard time getting an SD export that looks good.
I don't have access to an HD deck right now to attemp any downconvert that way so I've been playing with various exports and settings
I have tried exporting to Uncompressed 8bit for output to Betacam and I'm getting what look like heavy interlace issues on playback to NTSC monitor.
It's been a long day so I hope I'm just missing something simple in the export settings.
Any thoughts at this late hour would be a great help.
Thanks
rh

Well, not surprisingly, looks like OPERATOR ERROR once again.
As near as I can tell, I was exporting from Compressor with the wrong frame rate. Got that right and it looks much more better!
Thanks for tweeking my brain in that direction Michael.
And just a general thankyou to this board.
Most of the questions I ask here come down to something I've missed, but often I get to the point where I can't see the forest for the trees, (or sequence for the clips, or timecode for the numbers......) I can't tell you how often my searches here, or your answers have got me back on track.
Thanks
rh

DVCPRO HD firewire output audio issue

Hi, having a few problems with DVCPRO HD audio
Here is the situation
Shoot DVCPRO HD 1080i50 using P2 camera (HPX2100).
Edit on a 1080i50 DVCPRO HD timeline using an intel Macbook pro.
When monitoring the audio on the mac all is good.
Crackles appear on the audio when the timeline is played back to a P2 camera or deck (both set to DVCPRO HD 1080i50)
This has been the case with several Macbook Pros (Leopard and Tiger) and a Mac Pro tower.
When using the Mac Pro tower, playout was also fine when using the internal AJA HD-SDI card.
I think I know that this is a firewire issue, but I am now a bit lost as what to do about it.
Anybody had the same problem or know any answers.
Thanks
David Rees.

The only way to get your timeline to tape via firewire is if your sequence is a DVCPRO HD sequence. If it is Uncompressed 10-bit, the signal will not go down the firewire cable...only out via a Decklink card.
We are recording onto a standard 66 minute DVCPro Tape and the deck is(supposed to be) upscaling the SD footage to DVCPro HD 1080i.
Uhm...no. The deck can record a DVCPRO HD signal that is being fed it via firewire, or an HD signal that is being fed to it via a capture card. It is the job of the CARD to convert the footage, not the deck. If the card has that option. My Decklink HD card doesn't. But I do not have the Extreme card, so I don't know what options it has.
http://www.decklink.com/products/multibridge/
It mentions that it can DOWNCONVERT from HD to SD, which mine can...but nothing about upconverting SD to HD in real time. I don't think there is a card out there that can do that...output SD to upconvert to HD. That is something you have to do in your timeline, or via a Terranex box at a post facility.
In other words...I don't think you can do what you are trying to do.
Shane

Downconverting HD to SD: Change Sequence Settings or. Motion Tab ???

I'm working with 1080i DVCPro HD footage, which am editing in HD. The client wants me to deliver the project file with HD and SD sequences (with identical cuts) but SD Quicktime renders.
So the HD sequences are easy ... under Sequence Settings I have these specs, which allow me to edit the footage without having to render:
Frame Size 1280x 1080, Aspect Ratio HD (1280x1080)(16x9)
Pixel Aspect Ratio: HD (1280x1080) - Ananmorphic NOT checked
Field Dominance: Upper (odd)
Editing Timebase: 29.97
Compressor: DVCPro HD 1080i60
SO ... the best way to downconvert to SD ... I'm figuring copying the HD sequences after the edits are done, and then changing Sequence Settings to these specs:
Frame Size: 720x480 NTSC DV (3:2)
Pixel Aspect Ratio: NTSC - CCIR 601 DV (720x480) - Anamorphic NOT checked
Field Dominance: Lower (even)
Editing Timebase: 29.97
Compressor: DV/DVCPro NTSC
I'm not delivering Anamorphic; the SD renders will have letterboxing. BUT unless I tweek the footage's Motion settings, it still looks distorted. The footage looks the most normal after shrinking the Scale to 60% of original, and changing the Aspect Ratio to -60.
But I'm just eye-balling things ... is there a precise rule for downconverting this HD format to standard SD ?

Umm well OK I found the Advanced Format Conversion option in Compressor, and am testing that out now.
But for academics, let's just say I want to convert the sequences also ... as in, exporting normal SD Quicktimes directly from FCP's sequence without using compressor ... which Sequence Settings and Motion Settings would I change?

DVCPRO HD to 720x480 SD/NTSC in FCP

Hello - I'm working on a DVCPRO HD project in FCP 6.0.4 (at 59.94 fps). The final output needs to be for SD/NTSC at 720x480, 29.97 fps. Having a tough time down converting in FCP without digital artifacts.
I've researched this on the web quite a bit, and have been unable to find a "standard" solution.
Any suggestions?
Thanks.

An HD capture card. AJA Kona series or even Matrox MXO. Both will downconvert and change the frame rate so that it will output fine to SD...which is 720x486 BTW, unless you are talking about DV.
Shane

DVCPRO HD downconverting to SD & MP2

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