Working with HD and SD clips for DVD Project

I am working on a project in FCP and I have clips that were shot with both SD and HD camera's. The SD was imported to FCP using the DV NTSC 48kHz Anamorphic setting and I have yet to import the HD footage. The HD footage was shot on a Sony Z1U using HDV 1080 60i.
The final project will be put on a DVD but I was just wondering what the best way to deal with both SD and HD footage? What type of sequence setting should I use when combining the clips? Any other things I should consider before starting on this project? Any input or ideas would be appreciated.

You might as well bite the bullet and put the hd into an SD sequence. The dv will look TERRIBLE if you try to blow it up, and when going to DVD, it'll only be 720x480 anyway. The only upside of this is that you can correct any framing issues with the hd stuff-- you'll have a lot of latitude for repositioning shots.

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Working with Heavily Compressed, Long Clips (ie DVD, h264)

Hi all. One of the main reasons I switched to Premiere back with CS5 was the mercury playback engine. I often have to make edits from many different sources and premiere allows me to just edit and not worry too much about it. I've done a good amount of reading on the way it works along with xmp metadata and the media cache and all of the various CFA/PKA files that get created to 'conform' clips. Most often these projects are short clips- the most would be a 12 minute DSLR file...
Recently, however, I had to do a project where the source was 8 DVDs, with 2 hours of footage each. My first thought was Mercury PE to the rescue! Just copy the VOBs to the hard drive and use those! On import it took a few minutes to conform, but then it had weird timecode that I couldn't change. Working with the files was somewhat responsive but not great.
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I needed the timecode to start at zero - any idea why I couldn't edit the timecode on VOB files that were copied to the hard drive? Anyway, to reset timecode and (I thought) get a better codec to work natively with, I converted to mp4 (h264) using Visualhub (old I know, but easy and stitches files together). These new files were about 3GB each, with the full DVD contents stitched together to 1 file, so I had continous timecode that started at zero (because the notes I was given were done on a DVD player). I have used DSLR h264 files before and they are fine - nothing like these, which were MUCH smaller and only around 1000kbit/sec)
Anyway, these files took longer to conform, and the CFA files created were actually LARGER than the original mp4s. They were very slow to work with, and each time I loaded a new clip into the source viewer it took 5-10 minutes before I could see anything (though audio worked). When it came time to render, an 8 minute timeline output to h264 took TWO HOURS! Each timeline had clips from multipe source files, and it seemed like every time it had to insert a clip from a different source file there was a LONG delay -- just like when the files were first imported. During this delay the render progress would not move, then it would go for a bit then another delay. What is happening here? Is it reconforming? Does it have to scan every file to export and if so why does it take so long?
Did I choose the worst possible by converting to h264? What's a better option? I really didn't want to use prores -- those file would have been huge and the quality is awful to begin with. It'd be insane overkill.
If anyone can help me wrap my head around why this seemingly easy project took me FOREVER (mostly due to invisible 'processing' by Premiere) I'd much appreciate it.
Thanks.
ScottieB

Fair enough but DV is large too. I'm trying to avoid getting back to huge files if I can but I understand that may not be possible. Is there some sort of intermediate between 1mbit and 25mbit? because even DV is overkill for the quality of footage Im talking about. Actually that's what makes this such a pain - it's such a silly, simple project that it seems insane to go through so much hassle. Not sure converting to DV would solve the weird timecode issue either but perhaps (it's been a while). I guess I was really just expecting this to be quick and easy.
I suppose with all the extra files being created DV wouldn't be that much bigger. I'm just shocked at how slow working with these h264 files was - especially when it came time to render. Once everything was conformed I didn't think it would have to re-scan (or whatever it was doing) when it came time to render.
Thanks for the input.

Best way to work with interlaced and progressive clips in the same timeline

I´m shooting with Sony MC-50E camera in 1920x1080, 50i. When importing with Log & Transfer I can work with ProRes 422 files in interlaced mode. I have to mix the footage with video screencapture which is progressive (ProRes 422). The final videos are for web only so it should end up as progressive H264 videos. I´m getting good result if exporting to H264, 1024x576 with deinterlacing enabled, but exporting to full HD gives typical interlaced lines in the picture. How can I avoid this and what is the best solution for working with both interlaced and progressive clips?

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1. Working with DV and HDV in the same project 2. importing music error

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i "I have never worked with with soundbooth but i changed the file type to WAV but had to use IMA ADPCM for the Audio options because I could not save the uncompressed type."
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[EDIT] I use Audition, but think Soundbooth would be a good choice, as it is bundled in the Production Studio CS3.
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** Say thanks by clicking the "Thumb up" icon which is on the left. **
** Make it easier for other people to find solutions, by marking my answer with "Accept as Solution" if it solves your issue. **

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Did anybody reported this? never happened to me in previous versions.
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Product: Zenworks for Desktops 7Sp1 and Zenworks For Server/TED 7Sp1HP5
Subject: Site list update not working with TED and Zenworks for Servers ,
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2008.05.29 03:35:41 [TED:Event Processing] Handle Event: Work order IN completed... Creating new application failed,
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