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| It's true working in 720p is lighter and faster. Heck it's about 900,000 pixels vs. 2.2 million in that frame. Having said that, working with 720p in editorial and mastering seems like a bad idea to me, unless you are absolutely certain you are okay with the future limitations of that. Even though 720 gives room for Pan and Scan of 1080p, you can certainly scale up 1080p in a 1080p timeline, especially when you know you are going to drop it back to 720p on delivery. It's a wash. (stick to 150% and below scale if you want perfect pixel-matching in 720p). Also, using Premiere Pro when you need to go larger takes advantage of the best scaler in the NLE universe. Better than AE, in fact. When it comes right down to it, if I shot 1080p I prefer to master everything 1080p then go to work on deliverables. For example, for broadcast 1080 they're going to want 1080i/29.97 (aka 60i). For 1080p that's simply a PsF maneuver in your encoder. Perhaps adding pulldown if you started with a 24P master. For 720p it's always progressive so just stay with it. If they don't like native frame rates you may have to pad out to 60p (that's the 720p baseline deliverable). Carey On Feb 13, 2012, at 11:00 AM, Jim Curtis wrote: > I've got a series of spots coming up. After years of SD deliverables, client has requested we start finishing HD versions. > > DG FastChannel will accept 720 or 1080. > > Seems to me that finishing in 720 is the quickest way to delivery. It gives me some room to pan & scan with 1080 material, rendering to 720 is faster, and my storage and backup will be easier. Seems like a slam dunk case for finishing 720. > > But... to those of you who can shed some light... Am I missing anything by not finishing in 1080? > > Thanks, > Jim C. > > . > > > +---End of message---+ > To unsubscribe send any message to <ae-list-off@media-motion.tv> |
