Mixed Footage

For Christmas I received a Sony DSC-W290 point and shoot with video capabilities. It shoots 1280x720x24, 29.97Progressive MPEG-4 PAR 1.000 QuickTime. 95% of my projects are done with 1440x1080x32, 29.97Interlaced .m2t PAR 1.333 UFF with the final destination being DVD.
1. Can I put interlaced and progressive into the same project directly?
2. What happens by having two different PARs and frame sizes?
3. What should my project settings be. Should I set them to whichever video is used the most in the project?
4. What setting would I want to use for Rendering?
5. Anything else I should know about doing this?
Thanks. Cin

Hello, Cin.
For some of your questions, there's more than one possible "correct" solution. So it depends.
Before anything, consider this:
with the final destination being DVD.
NTSC DVD is always 720x480, either with a 4:3 or a 16:9 frame aspect (which is a consequence of using the NTSC DV or NTSC DV Widescreen PARs).
So, assuming 16:9, you could just have a NTSC DV Widescreen Comp and user either kind of footage and scale down to fit the frame (The Fit to Comp command will take care of scaling things down automatically to fit the frame - select the video layer, and press Command + Option + F on Mac, or Control + Alt + F on Windows).
1. Can I put interlaced and progressive into the same project directly?
Absolutely. Just make sure AE interprets interlaced as interlaced and progressive as progressive.
2. What happens by having two different PARs and frame sizes?
As long as AE interprets correctly the PAR and frame sizes, there's no problem. The whole point of interpretation is that AE handles the transform from one pixel aspect to another transparently to the user. In this case, both 1280x720 with a PAR of 1.0 and 1440x1080 with a PAR of 1.33 have a resulting frame aspect which is identical to NTSC DV Widescreen. They are just larger.
3. What should my project settings be. Should I set them to whichever video is used the most in the project?
If going to to DVD, your Comp should be NTSC DV Widescreen or NTSC DV (unlikely to be what you want, since everything is 16:9). The only reason to use a different Comp setting is if you want to keep an HD master to future-proof your project. In that case, you could have a 1280x720 Comp with a PAR of 1.0 and render to 720x480 with the NTSC DV Widescreen PAR.
4. What setting would I want to use for Rendering?
While DVD always uses MPEG-2 compression, you can just render a Quicktime movie with lossless encoding (Animation, PNG or JPEG2000 codec) and most authoring applications will transcode to MPEG-2 for you.

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paul whitehead wrote:
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Would really appreciate anyones thoughts as to the best option for a DVD I have to output tomorrow, which little chance of time to redo it again or experiment.
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Message was edited by: mr bluefin

Thanks for your reply. Can I just confirm that I am understanding you correctly, as there is a bit of info that may alter you advice?
The different filmed formats that are 40%, 40% & 20% chunks do not appear as whole sections together in the project. i.e there are 41 clips in total ranging from 15 seconds to 11 minutes and these are arranged randomly throughout the project. Thankfully no clips are a mixture of formats.
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Thankyou, I am about to start shortly!
P.S I did a quick test yesterday of burning a few sample clips to a DVD straight from A) an interlaced seq and B) from a progressive seq. The Progressive seq export seemed to offer a better result, with no obvious signs of interlacing issues. BUT this was only on 3 10 second clips.

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I deal with similar issues with legacy 4x3 Beta SP mixed with HD quite a bit. I'm speculating, as I have not had to mix HDV and DV yet, but this is how I would try to deal with it were I in your shoes.
You can put both in a time line, but it will be painful to edit this way. One or the other will need to be rendered, and the actions you take with the footage will cause you to have to render again. And again. And again. No Joy.
I would look for a down convert with edge crop from the camera. This will chop off the edges of your HDV frame. As mentioned above, this might have a different name, but the key is to get footage that is of the same format (DV) and aspect ration (4x3) as your GL footage. Edit in DV.
You could import it 16x9 (black bars on top and bottom as you say) DV, blow it up so the black bars go away, and then slide it back and forth in the canvas with the motion controls in order to adjust the framing. Indeed you might have to do this if you did not shoot with 4x3 safety in mind. This is called "pan and scan" and it is how movies shot wide screen were squeezed onto our 4x3 TVs. If you have to do this your HDV footage will look quite poor. Down conversion and then scaling up is not good JuJu.
But, if you can't find a way to play the hdv footage out DV 4x3 center cut, or crop or whatever your camera calls it, you might be forced into this scenario.
You might try capturing the HDV the footage natively in a separate project. Drop this on a DV sequence. It will appear as a 16x9 image (black bars on the top and bottom.) Double click to load in the viewer and click the motion tab. The scale parameter will be at less than 100 percent. Scale it up until the black bars go away and your percentage is a round even number. Then export as self contained Quicktime movie. Name it HDV to 4x3DV. Reimport this into the DV project with your GL footage where you plan to edit.
This avoids the scaling issue and does the down convert in FCP. I suspect this will look better than the alternative, but I have not tried it.
Hope this helps.
Best,
Tom

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