DVCPRO HD720P50 conversion to SD Issues

I'm working in FCP with HD720P50 footage - the original files in qtime state HD720P25/50
The sequence settings are 960x720 25fps
I have exported the sequence as Qtime reference file using the sequence settings and then imported to DVD Studio Pro
I've also exported the sequence into Compressor and used Mpeg2 compressions
The issue I have is that the DVD version (SD) is heavily pixelated and blocky (whilst on the computer running from the ts folder looks fine)
If anyone can give me some advice to get the SD DVD problem fixed I would really appreciate it!
Thanks
J

I have had success with letting Final Cut do the SD conversion when Compressor doesn't give me the desired results. It can take a while but the end result is always better
I create a 16x9 SD sequence and put my HD sequence into the SD and then render with the proper SD settings. Export a reference or self-contained QT to create the DVD files in Compressor.
Compressor is a great program but the HD to SD conversion can be hit or miss.
Message was edited by: darbypsnm

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I respect a photographers personal opinions regarding their perceptions of differing quality levels in RAW conversions but in the commercial world these perceived differences between Aperture and say ACR are so minimal they certainly do not qualify as a deal breaker.
In the real world of commercial photography, design and printing, photo images are ultimately used as 8 bit CMYK files or when used for Giclee printing as 8 bit RGB files. These files go through so much retouching and manipulation after the RAW conversion that the esoteric quality differences talked about in these posts are irrelevant.
The proper use of any Camera RAW converter is to balance the image before outputting it as a 16 bit TIFF or PSD for refined manipulation in Photoshop. This would include refined levels adjustments sometimes with layer masks and appropriate sharpening at the final output size.
We typically use the RAW converter to:
1- Pull back highlights that appeared to be blown
2- Open shadow detail that appeared to be plugged
3- Correct color casts and saturation
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Dual 2ghz G5 Mac OS X (10.4.3)

Tom...
With respect, your logic is hard to accept. You state that in the commercial world, images are typically so heavily manipulated that initially quality of RAW conversion is non-issue.
I am surprised that no one has bothered to challenge this idea. So I'll step up.
If my RAW conversion out of ANY program is going to introduce banding artifacts, 'parquet flooring' patterns, or other noisy type data into solidly colored areas, that will need to be fixed in this manipulation of which you speak. Who could justify having to do this sort of thing when there are perfectly good RAW converters out there that don't add this particular headache to the workflow?
Your message states that "Apertures solution, while not absolutely perfect, does an excellent job within a program that enhances real world productivity."
That statement stands as a contradiction when you consider that extra 'fixing' may need to be done to some images coming straight out of Apertures RAW conversion.
I suspect that you (and others) are not seeing problems because evidence is mounting to support the idea that Apertures RAW conversion works better for some flavors of RAW than others. So, perhaps some people are seeing consisten image trashing, and some not. If this is the case, one could easily understand why some are 'satisfied' and some are positively livid.
However, I digress. I still don't agree at all with the idea that in the commercial world a substandard RAW conversion would make an acceptable starting point for any commercial image, regardless of how much manipulation down the track its going to go through. I can't see any art director being satisfied knowing this was going on in their shop.
"Aperture - sure it mangles your images, but it does a heck of a job keeping track of them!"
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DVCPRO HD720P50 conversion to SD Issues

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