i downloaded the trial of prospect hd so i could get the full HD 1920*1080
i captured the footage via firewire from a sony v1u, and up scaled it in HDlink to 1920-1080 and removed the pull down and it looked really good. i like progressive and prefer to work with square pixels.

is there any thing wrong with these settings? or this work flow?

This is a great HD workflow. In fact, 1920x1080 24p is a "preferred" workflow due to its broad compatibility. It's easy to mix material from other sources, and all content is square pixel. That's why we have the resize option in HDLink.

This is a great HD workflow. In fact, 1920x1080 24p is a "preferred" workflow due to its broad compatibility. It's easy to mix material from other sources, and all content is square pixel. That's why we have the resize option in HDLink.

Just curious as to why the original 60i would be "better" or more "compatible" pulled down to 24p? More compatible to what?

We've been doing the same thing but to progressive frame format, no 3-2 pulldown, de-interlaced 1080i, and resize to 1920x1080 (keep source aspect ratio). Our output looks terrific and downrezing final output for DV produces very nice results.

Are we missing something here? Just can't get our heads around this thing...

Just curious as to why the original 60i would be "better" or more "compatible" pulled down to 24p? More compatible to what?

True 24p is the best way to edit, as it can be delivered without issue as 60i, 25p and of course 24p. Edit 60i with 24p embedded, can only be deliverd (easiest) as 60i. Removind pulldown after editing is tricky, as every cut can change the pull-down cadence. All post elements like motion titles and transition are computed at 60i so pulldown is longer present. Any exports from a 60i timeline (that once contained pulldown element) will have some reduction in image quality. Plus 24p masters/captures are 20-25% smaller than 60i captures.

True 24p is the best way to edit, as it can be delivered without issue as 60i, 25p and of course 24p. Edit 60i with 24p embedded, can only be deliverd (easiest) as 60i. Removind pulldown after editing is tricky, as every cut can change the pull-down cadence. All post elements like motion titles and transition are computed at 60i so pulldown is longer present. Any exports from a 60i timeline (that once contained pulldown element) will have some reduction in image quality. Plus 24p masters/captures are 20-25% smaller than 60i captures.

Thanks for the info, David. We've been trying to get this all into our heads, but somehow, it seems like it's just a little too geeky to grasp.

Since our latest production series is destined for four potential main targets (DVD, web, HD-DVD/Blu-Ray, TV), we've been saving the masters as CFHD AVI's to HDDs. It is very important to us to get a handle on this, as compatibilty is surely needed and we want the best we can get with what we've got.

Any other suggestions on this are greatly appreciated, so keep them coming! The better you make us look and work, the better we like CF.

I can see what you mean about being tricky. Just tried to do pulldown on 10 min of CFed progressive AVI and the audio is now off-sync. Only did the pulldown, nothing else.

Not nice to see...darn.