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The Filmmaker’s Guide to Final Cut Pro Workfl ow<br />
Another problem comes from the unwanted artifacts in the SD video. Any problems, even small<br />
problems may become exaggerated by the edge-enhancement function in the scaler. This can be seen<br />
in the noise in the right upper portion of the SD image where the white fl ag and blue sky meet. In<br />
the fi rst HD image, banding and noise are exaggerated by the edge enhancement. The noise is still<br />
present in the second HD image in Figure 6.6, but it is blended, looking even better than the original<br />
SD image.<br />
Figure 6.6 SD image blown up to 1080p by bicubic resampling<br />
Another problem comes from converting one color space to another. This adds considerably to the<br />
rendering times and always creates color shifts. In worst cases, it can blow colors totally out or create<br />
banding in bright colors.<br />
There are many scalers and some post houses have their own “top secret” system, “black box,” or<br />
software. Some look better with graphics, others with softer images, some work best on sharper<br />
images. Some produce progressive video, some interlaced, and some produce images optimized for<br />
recording to fi lm. Many produce unwanted artifacts, perhaps blowing out some colors, or bringing<br />
out the compression artifacts from the original DV video.<br />
There are several ways to scale your Final Cut Pro SD project to HD. It is possible to print the 24P<br />
to videotape at 29.97, up-rez at a post house by rerecording tape-to-tape and reverse the HD 29.97<br />
back to 24P. Because the edit was performed at 23.98, the entire edit has the same 0-A frame reference<br />
and can therefore be output to tape at 29.97 and reversed back to 24P. Note that projects that<br />
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