[Adam Levine]

At least on the Mac:

FILE -> EXPORT -> BLACKMAGIC IMAGE EXPORT

Then choose NTSC or PAL from the pulldown menu

[Adam Levine]

Do it after the “online”. Do not deinterlace the S16 footage

[Adam Levine]

I may be missing something, but I don’t think DL does that. In any event, I believe it is sub-optimal. For example, if I were to convert an SD anamorphic program to 720P, I would export to a QT movie, bring into AE and drop it into a 24P SD comp, then use Magic Bullet to convert the frame rate. Then I would drop that comp into a 720P comp, apply Mimikri to adjust my color and render

[Adam Levine]

My show is 4:3, but with black bars in 1:1,77 format. Will it be difficult adjusting 16:9 anamorphic material into 4:3?

So long as the anamorphic clips are identified as such (check the “Anamorphic” column in the browser), when you drop an anamorphic clip in a 4:3 timeline, FCP will automagically adjust the scale and aspect ratio so that it is inserted with a letterbox matte.

What about effects, filters, transitions and colorcorrections, will these still be the same after I convert to uncompressed? There must be a difference in quality when I apply a ex. diffusion effect, before or after turning uncompressed.

Use the traditional (i.e., pre-digital) online workflow — offline, online, color correct, fx. Translated to today’s tech: DV cuts and transitions (i.e., offline), do the media manager/recapture thing I mentioned previously (i.e. online). Then apply color and fx.

When should I fielddouble the DV material – before or after turning uncompressed?

I don’t understand what you mean. Are you refering to de-interlacing?

[Adam Levine]

I prefer to do these things in AE, combustion or Commotion, as I find their scaling to be far superior to FCP. You will need to make an HD timeline/composition, put in your movie, and scale up. Also, to deal with the color issues:

https://www.mimikri.ch/afx.html

[Adam Levine]

I would offline edit everything in DV codec to start — I’ve been using DVCam as an offline cassette format for some time now with great success. Put a label on all the S16 clips so you can identify them quickly. After you are done cutting, Media Manage the timeline and have it convert to 8-bit or 10-bit uncompressed. Then select all the S16 clips, make offline, then recapture from the D-Beta masters.

As far as the different aspect ratios go, you will have to make a decision as to whether you want a 4:3 or 16:9 show. In any event, you will have to adjust the non-conforming clips to the proper aspect ratio

[Adam Levine]

Also:

https://www.nattress.com/standardsConversion.htm

[Adam Levine]

Another greaty thing is Automatic Duck AE Pro Import. It imports you FCP timeline into an AE Comp with much of the motion/fx translated

http://www.automaticduck.com

Also, with your interlacing issue, you need to got to the “Interpret Footage-Main” dialogue and set the clip to LFF, and remove pulldown, if necessary. Select the clip in the project window, right-click, Interpret Footage->Main. In this dialogue, you can also set your pixel aspect ratio if you are working with anamorphic. You can also Copy/Paste footage interpretations in the same pulldown menu.

Finally, render in Apple Lossless 10-bit 4:2:2 LFF

[Adam Levine]

So, since AE works only in RGB, what’s the solution to rendering out video (as opposed to graphics) in AE?

[Adam Levine]

Very interesting. Would this also apply to Apple Lossless 8-bit as well as BM?