[Wes Plate]

Create a new comp that is 853×480 SQUARE PIXELS, then drop your 720×480 DV Widescreen comp into it.

— Wes Plate
Automatic Duck

[Wes Plate]

A D1 widescreeen comp is 4×3, it is the non-square pixels that make it widescreen.

Nest your final D1/DV comp into a Square Pixel 16×9 comp and render that.

— Wes Plate
Automatic Duck

[Wes Plate]

*

That’s the * on the numeric keypad

— Wes Plate
Automatic Duck

[Wes Plate]

It is true the application doesn’t work the way you assumed it did.

— Wes Plate
Automatic Duck

[Wes Plate]

Does not sound like you need to purchase Pro Export FCP.

Pro Export FCP does other things as well, but regarding the export of audio for bringing into Pro Tools the advantage that Pro Export FCP has over FCP’s built-in OMF is the export of volume information.

— Wes Plate
Automatic Duck

[Wes Plate]

Probably not completely done in AE. Can you imagine editing all those greenscreen shots in AE and synching them to the audio track? They likely did the editing in an NLE then sent the clips to AE for compositing and graphics.

— Wes Plate
Automatic Duck

[Wes Plate]

This requires After Effects Professional.

— Wes Plate
Automatic Duck

[Wes Plate]

No, sorry.

— Wes Plate
Automatic Duck

[Wes Plate]

Any Quicktime codec will do. Unless you render to the Avid codec the Avid will recompress the movie during import anyway.

— Wes Plate
Automatic Duck

[Wes Plate]

Yes, no and yes.

— Wes Plate
Automatic Duck