Single timelline sequence which incorporates 50i and 24p HDV footage

Hi.
I have one scene in an upcoming short film shot on the sony HVR-Z1 camera (50 interlaced), and the rest of the film is shot on the JVC GY-HD100 camera (24 progressive). I need everything in one timeline, and eventually out in a single sequence full-resolution format. How do I integrate the two?
Can I use the same custom 24p Apple Intermediate codec for all of the editing? I assume this is impossible as the sony material is interlaced? How can I get a satisfactory agreement between the 2 with as little image-quality compromise as possible?
Will there be a great deal of difference in the look of the 2 formats? The aspect ratio? Any suggestions on how best to hide the differences? I'm pretty new at this, so apologies if I am asking silly questions?
Thanks!

Hi there. Thanks for your prompt reply. I am aware that as of yet I´m unable to capture directly to FCP with the JVC. I have bought some mediating software which allows me to do so, called Lumiere.
What I have at the moment is compressed MP2 files and I am working with their xml counterpart files in FCP with the Apple Intermediate Codec. I am wondering however, how to get the material out into as fully a decompressed format as possile for color correction, sound synching etc?
I have noticed that even in this recommended intermediate codec the material doesn´t play consistently in my viewer. There are lags and freezes, as well as unsynched stretches of audio. I have 2 choices for printing to tape. I can use either a sony HDV deck or the JVC camera itself. I haven´t a decklink card at present so I am wondering what my best option is (format wise) for succesful transfer via firewire to tape?
What kind of size are we talking for a 4 to 5 minute decompressed HDV clip when rendered as a stand alone finished sequence?
My intention is of course to have the best image res in the finished hard copy, and I am admittedly new with this sort of thing, having only rendered and edited in DV before. Any suggestions or help would be appreciated.
Thanks,
-Tom

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Look, you really need to wrap your head around 24p, 30p, 24pA and 30i.
Interlace is not an ugly issue. It is a benefit. Interlacing normal on broadcast television. Your TV scans down and back up for each frame... alternating lines. When you shoot 24p on the DVX it puts it to tape where for every 3 frames of progressive it combines FOUR frames to give you TWO additional combined (interlaced) frames. So.. there are 6 sets of 5 frames per 1 second giving you 30 frames per second. If you take those 3 progressive frames by themselves 3x6 is 24 frames per second.
You OBVIOUSLY want to final out to 29.97 or 30 fps so you'll need those extra 2x6 frames to get you to 30!! If you wanted to final out to 29.97 AND you wanted progressive frames for EVERY frame you should have shot 30p mode.
Now... when are they ugly? When you are standing still on a frame. When are they unnecessary? When you plan to show them on a computer or progressive monitor. Remember, even when shooting progressive and playing it on a TV you will STILL have the TV doing interlaced scans... the only difference is the down scan is taken from the same point in time as the up scan.
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Help! I'm a cameraperson/director who was has just shot a largeish doccie project on a Sony HVR-V1E. My technical background is in stills, so I hope you'll forgive some ignorance here.
BACKGROUND: The vast majority of the footage was shot HDV using the 25fps prog scan mode on the camera. I really don't like interlace jaggies and I was advised that this was the obvious way of getting away from them, and made for very useable footage when output as standard def interlaced PAL. However, some footage for the project was also shot on a small Sony HDR-HC9 (PAL) camera. The HC9 has no progressive scan mode, i.e. this footage is 1080i50.
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Hi,
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but check the result before proceding further ahed in edit in both preset format.
and using Compressor is not a good idea for broadcast I believe, it is ok if there is no other option is with you. It is better to do it with the hardware rather than software.
I use realtime Blackmagic hardware for down converting HD to SD with letterbox directly to tape.

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I'm working on a short project where most of the footage is 720/24p. We have some B-roll that's 720/60p. We definitely want to use this footage. I'm familiar with conforming it to 24p in Cinema Tools and having nice slow motion, but I don't want that. I just want to mix the footage in at regular speed as best as possible. Right now, I just dropped it into the timeline as is, rendered, and I guess it looks okay. I'm assuming FCP is just taking out frames.
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Message was edited by: Ian R. Brown

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Single timelline sequence which incorporates 50i and 24p HDV footage

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