The video world is changing. Heck, it has changed. Not so long ago, if you saw something unbelievable on TV while you were out in public, you would have jumped up and turned away from the nearly-square image, dug in your pockets for change and ran for the payphone to call a friend. Nowadays, you can watch a widescreen TV program, make a video call to your friend, and both shoot and edit high definition video all on a smartphone or tablet.

What a difference a few years makes. Ask a 15-year-old if they know what a payphone is and they’ll probably tell you it’s a Maroon 5 song. (Ask a 55-year-old what a Maroon 5 is and, well … never mind!)   

While editing footage you shot on a cutting-edge touch screen device such as a tablet is pretty cool, it’s probably not what you do day-to-day for a living. If it is then you’re unlikely to be worrying about editing for SD video output in the first place.


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For the rest of us, we have to be adaptable walking tool chests, ready to take on whatever projects our clients can dream up. Part of the aptitude required of a successful editor is the ability to change direction, adapt, and learn quickly. So let’s learn to edit HD for SD output and add another tool to your tool chest, starting with some basics.


High Definition and Standard Definition

Here’s a crash course:  high definition, or HD, generally refers to images displayed in a 16:9 aspect ratio at a size of 1280 pixels by 720 pixels or 1920 pixels by 1080 pixels.

The images can be displayed in either interlaced (alternating upper and lower fields playing sequentially at a speed great enough to trick our eye into seeing one image – commonly referred to with an “i”, e.g. 1080i), or progressive (showing a full image in each frame – commonly referred to with a “p”, e.g. 1080p). Common HD displays include plasma, LED and LCD televisions, flat panel computer monitors, and most mobile devices.

Standard definition, or SD, isn’t as wide and sexy as our current flat screen televisions and monitors. It is generally an interlaced image with a much smaller number of pixels – in North America it is 640 pixels by 480 pixels to be exact (480i). When imagining a 4:3 viewing area, think back to your old, wood-cabinet television in the attic. It not only contained a cathode ray gun or three and weighed as much as my Aunt Edna, but it also had a screen that was pretty darn close to square, right? That’s a standard definition screen.

Though there has been a shift towards digital, high definition and TV broadcasting, both HD and SD standards still exist. Depending on the service provider and delivery method they use, a North American broadcaster may broadcast at 480i, 720p, 1080i or 1080p.

What that means to video professionals, is that the shift from SD to HD and the lack of a single video standard has forced us to become masters of many aspects of shooting, editing, converting, encoding, delivery and transmogrification, OK, not so much that last one, but we’ve definitely had to embrace a steep learning curve to keep up with formats, pixel aspect ratios, codecs, and a multitude of Web, film and broadcast technologies and standards.

Let’s try to shed some light on one aspect of this challenging changeover, and that is learning a bit about editing HD video for SD delivery. 

Before we get into the editing, however, it’s important to know why one might choose to shoot HD video when he or she knows it’s only going to see the light of day as SD video.

Why Choose HD Footage for SD Projects

1.     Color depth and compression – newer HD cameras capture more color per pixel, offering options to record their footage fully uncompressed. Those using compression for their HD footage offer nice, small file sizes.
2.     Zooming and panning – when we put our videos together there are times where we wish we framed a bit tighter, zoomed in a bit on the action, or were able to do a slower zoom in or out. HD footage will allow editors  to       zoom in and out and pan side to side without falling out of the SD frame.
3.     Cost – the equipment is so cheap and so good now, it doesn’t make sense to spend good money on older technology. The reality is that most studios want to stay on top of the latest technology, and simply learn how to meet the needs of different clients as projects come in.
4.     Learning – clients looking for SD now will likely be looking for HD in the future, and in the meantime you can learn to refine your HD workflow for SD.
  So what part of the workflow needs refining?

Highway to the Safe Zone

The most obvious thing we notice when comparing HD and SD footage is that SD is far narrower than HD. Even in HD there are boundaries for what is safe to display. These are called the title safe and action safe zones, and they sit 10 percent and 5 percent from the edge of your footage, respectively. There is also a third zone, called the center cut safe zone. The center cut safe zone refers to the 4:3 section of a video frame that fits inside the center of 16:9 HD footage. We’ll get into these in a sec.

When discussing shooting, center cut safe shooting describes shooting footage in HD, but keeping your area of interest centered in the middle 4:3 section of your shot.

Sounds easy enough, but as an editor how do you make sure you’re playing within the barriers? Let’s take a closer look at these safe zones. Start by turning on the action safe and title safe guides in our editing software. While these are for HD footage, they can help us.

The outside rectangle is called the “action safe” zone, meaning you are safe to have your action (actors acting, pipers piping, geese a laying, etc.), take place within this zone without risk of losing it on certain screens or monitors.

The inner rectangle is called the “title safe” zone. For television you’ll want to keep all of your titles within this zone to avoid them disappearing off the side of certain displays.

Note: For Web the rule of thumb is to keep your title text within the action safe zone versus the title safe zone for television.  Most hosting sites won’t crop videos.  

Slightly within the title safe zone there is our center cut safe zone. Many shooters and editors will use the title safe zone as their center cut safe zone, but the true 4:3 area sits within the title safe zone.

Editing software has historically included center cut safe guides, so if you’re using a current editing program or earlier, you should be able to turn on center cut safe guides and adjust your footage within that zone. As of this printing, it seems that more editing packages than not, no longer ship with these safe guides. They will, however, include title and action safe guides, and a quick look online should help you track down a guide image with an alpha channel to drop over your project layers to use as a guide.

Handling Footage

Worrying about all of these safe zones is enough to give us wrinkles, so let’s worry about something simpler: editing and cropping footage.

Assuming that your footage is center cut safe you’ll have a straightforward job as an editor. It is then as simple as creating a standard definition sequence in your editing software, dropping your HD footage dead center of the frame, and then editing as usual. Your action should look just fine for SD output, and the HD edges will be cropped away.

Things aren’t always as simple as having perfectly shot footage, but that’s OK – HD footage in an SD timeline can be a good thing for a few reasons. As an editor, no matter how the footage has been shot you may not want what landed in the middle of the frame. Maybe you want to punch in on a shot. Maybe you want to do a mild dolly motion. Not only will you have latitude to slide your footage in any direction without falling out of frame, but you will also be able to zoom in a bit on shots without worrying too much about image degradation.

What if you still want to present your footage in glorious widescreen, but you are required to output to SD? Again working in an SD timeline, drop your HD footage in and scale it to the SD frame width. You’ll see an immediate drawback, which is the introduction of black bars top and bottom, meaning your footage doesn’t fill the entire frame. Regardless, some content providers may choose this format. I guess it’s why VHS tapes used to come in fullscreen and widescreen. It’s nice to have choices. An added bonus is that as editor you can use the black areas to include text or graphics. Lower thirds, subtitles and other content can go in these spaces without being superimposed over an image.

The Plot Flickens

At some point you’ve probably come across one or more of the common issues with interlaced footage, such as interlace flicker or combing. Maybe you’ve transferred old VHS tapes to digital and watch them on a progressive display, or maybe you have an older interlaced camcorder and edit the footage on a current laptop. Either way, you’ve seen flicker and/or combing.

Interlace flicker is also called interline twitter. Therefore, in 140 characters, interline twitter is “the aliasing effect created by fine lines and certain details in great enough frequency to be near the horizontal resolution of the display.” #like_when_broadcasters_wear_striped_shirts

To get around the issue of flicker or interline twitter, fine and ultra-sharp details are generally avoided when creating or broadcasting interlaced content.

Combing, is the result of viewing interlaced footage on a progressive monitor. What you are actually seeing is the movement of content in interlaced footage containing the two distinct fields that would be alternated when viewed on an interlaced display. The two fields are technically captured at a different time and then played sequentially fast enough that we cannot differentiate them and see only smooth playback, progressive displays with little or no deinterlacing have no option but to show both fields at the same time.

Fortunately, there are great options for editors who need to deal with interlaced footage on a regular basis. Every major editing platform has at least one tool – and sometimes more than one – to reduce or eliminate issues arising from interlacing. Any encoding or compression suites offer the option to deinterlace footage when re-encoding your footage as well.


SD or HD, interlaced or progressive, action safe, title safe, center cut safe, flicker, combing … there are a lot of things to learn about footage and how to interpret and work with it. This article is by no means the definitive guide, but hopefully the next time you’re faced with a project requiring you to take high definition footage and edit it for delivery in standard definition, that lump won’t form in your throat.

As in life, with every editing project it’s always up to you which route you take to achieve your goals. Some will work, and some will need some tweaking along the way, but these journeys are what define us as editors.

Every seasoned editor has a trick or two up their sleeve, and many have proven workflows that work for them time and time again, but their methods may not be your methods to get the result you want. We all forage through the technology to find our own way, while stopping to pick up a trick or two along the way. Keep foraging.

Russ Fairley owns a turnkey video production company presenting 200+ videos a year, featuring Web videos, TV commercials, and live event coverage.



  1. My primary reason for creating SD footage is for DVD creation.  DVD players are still more common than BluRay players.  With anamorphic settings you can get 16:9 on your widescreen TV.


    Creating video for DVD from HD has a few more other issues.  60 frames per second versus 30.  The interleaving can generate some artifacts.

  2. I didn't find anything helpful in this article. I think the main points were missed completely.


    We shoot everything in Hi Def now, whether it will be for HD or SD for the client. The reason is simple, and was not mentioned. Most displays are widescreen now, and many players cannot be set for the correct aspect ratio when playing SD 4:3 footage on them. You get stretched images with either tall skinny or short fat people and ovals instead of circles. However, if the SD footage is in 16:9 widescreen ratio, it will play fullscreen  on these new digital monitors without doing a thing to the settings. And if they play their standard DVDs on a 4:3 television, all that happens is letterboxing, which keeps the correct aspect ratio and doesn't lose any edges that you composed in your video. So HD footage, whether edited in HD or SD, can be made into an SD DVD in widescreen mode that works just fine on all sets.


    Now a few tips to make SD look almost HD. One of the main annoyances, or artifacts, of SD footage is seeing the scan lines that make up the images.  Where this shows up the worst is in graphics, with their crisp, clean edges, that can look like they were carved out of venetian blinds in SD. So the trick is to output your footage to DVD as progressive, widescreen SD video I use MPG2 DVD as the setting for SD use. It gives me DVD footage that has clean edged graphics that are almost HD, superb SD video footage, and a DVD that is playable on any set without losing information or making everyone fat or skinny.

  3. The only reason anyone wants SD is to make DVDs.  And I strongly agree with the prior postings that shooting HD and compressing down to DVD resolution of 720×480, AND specify in the DVD creation that it is 16×9 widescreen, creates higher quality DVDs than shooting at SD to start with.   The interlace problem can be annoying as a few older DVD players will fail to show progressive material correctly.  I always shoot progressive, and encode the DVD with progressive material.  Usually the players then do a good job. 

    Deinterlacing in the editing platform will product blurry indistinct images, if starting with progressive.  There is no reason today to shoot interlace video people.   This format was created in about 1945.  Give it up.  Why do camcorders continue to record this format?



  4. Rich asks why camcorders continue to use, and people continue to shoot, interlaced video.


    I found out that the Blu-ray standard does not include 1920 x 1080/ 60p. It takes more bit space to shoot progressive, and if it is intended for Blu-ray it will have to be downconverted to interlaced anyway. I do not like the artifacts of 24p, so I choose to not shoot at the 1920 x 1080/ 24p standard, which leaves me at 1920 x 1080/ 60i as the highest quality choice, which converts more quickly and easily to Blu-ray than 60p, and looks great.


    For SD discs, I go out of the project to MPG 2 DVD Progressive Widescreen format. Note that both the MPG 2 Blu-ray and the MPG 2 DVD Progressive Widescreen files do not need to be transcoded once they are in Encore. They just burn straight onto the disc.


    Once you are happy with your disc of either resolution, HD or SD, you make a Disc Image file for archiving or producing more copies, and you can get rid of your projects and camera files to make room for another video project.

  5. My compromise, for sports video, is to shoot 1920×1080 30p.  Interlace of course is not good for sports motion video.  Now the 30p is a bit jerky, but much better than the blurring or combing of interlace.  The Bluray standard certainly needs an upgrade to 60p!    Is there a common HD 60p downloadable format, for which most Windows machines have a codec?  And Mac?  


    Rich Altmaier



  6. I am still shooting with Sony, FX1's which shoot interlaced HDV on tape.  Yes, I know I need to upgrade.  Still waiting for that ship to come in.

    So anyway, I always output progressive. 


    Here is what i wish this article would have addressed:

    When outputting HDV to a DVD (for clients) it doesn't look as good as SD looks.  I have tried everything I can think of I have and followed many tutorials, but still can't get the HDV footage to look real good on a DVD.

    So what is the secret?


    Should I be shooting 30i or 60 i?  Is that the problem?


  7. Hi, I am surprised the HDV is not looking as good as the camera's SD.  Is it possible to obtain a few seconds of the HDV output, as near to your normal HDV camera output as possible?  The reason I ask is I have spent time in the past to select a compression tool, and that made a big difference for my sports videos.  So I was thinking to apply it to your HDV.  I presume you capture video via 1394 cable to your computer, and i.LINK conversion is off.  I would first be suspicious of the computer video capture program performing some compression.  What video capture software is in use?



  8. Actually the HDV footage is great.  It looks good on the computer, and makes great HD mp4 videos.  It's when I make a DVD in Encore where the quality drops.


  9. I don't know anything about Encore.  I use this toolset:  compress HD to SD with tmpgenc (using nice GUI from Pegasys), called Video Mastering Works. 

    Build DVD menu and disc image files with Corel DVD MovieFactory,

    MovieFactory recognizes the compression format of tmpgenc and does not re-compress.  Once you like the tmpgenc output, that is what you get on the DVD.


    I did casually try Encore, and indeed reducing some of my HD to SD created really poor image quality.  But I don't know how to "tune up" Encore, as I expect is required.


    I hope this is helpful,



  10. Thanks Rich.  I'll keep that in mind.  Anybody out there have experience with Encore… creating a DVD from HD?


  11. Lest I repeat myself, would you please go back and read my contribution at the beginning of all this, called "More Informative Article"?


    Gary Eickmeier

  12. Thanks for the contribution Gary.  The problem is not 16:9 vs 4:3, or even progressive vs interlaced.  The problem is compression and down-converting.  Using Adobe Encore, I already output to widescreen progressive SD MPEG2-DVD.  Down-converting to SD loses quality every time. Of course, losing the HD quality is expected, but it ends up looking not quite as good as it original SD would have been.

    By the way, what version of Encore do you use?  I am still using CS3 and I am thinking that may be the problem.

  13. I have Encore CS4. I don't know if that would matter much. I am working now on a modern 64 bit computer in Windows 7. I would be glad to exchange videos with you if you want. I make HD and SD versions of most everything we shoot, and sometimes it is hard to tell that we are looking at SD on our big monitor, it is that good.


    Again, I go out of Premiere Pro in MPG2 DVD progressive widescreen at a target bitrate of 5 with a minimum of 4 and max of 6. The bitrate is very important and we haven't talked about that. Perhaps if you are doing longer videos and letting it go auto on the bitrate you are degrading the quality. In my Hi Def output I go with 15, 20, 25 for min, target, and max. At the bottom of the exporting screen it tells you what the total file size might be so it will fit on a disc. Don't know what else I can tell you.

  14. Hi Gary, and anybody else who was nice enough to read the article.


    Gary, I wrote the article, and I don't disagree with any of your points. There are plenty of considerations when looking at hardware, software and delivery. I don't claim to know all of them, but I do create a large number of videos. We've done over 400 since January 1st of this year, and things haven't slowed down – being in a major centre (Toronto is the 4th largest city in NA) we probably get spoiled in that there is plenty of business and most clients are looking for only HD delivery. That said, for every major delivery in HD we do in Toronto we have no less than 50 suburbs that require different specs. 


    We might create beautiful HD commercials, but if it's delivered in Toronto, Boston, New York, Chicago or Los Angeles (our core markets), we always need an SD version or two of that HD content for a TV Guide channel or another SD-only outlet. Most are HD, but not all. And none of the networks want DVDs.  None of them. Not unless I have a worthless internet connection. We usually only use DVD for specific clients looking to keep a local copy – most have updated, but not all, so we still provide service.


    Regardless, my article was written to give a rough idea of how we approach editing HD footage for SD output – I look at footage and my approch to editing differently depending on how it was shot and delivered, just like every editor would.  Render settings and delivery methods differ – whether it be TV or internet – and when specs are unclear from the network or it's for web, the editor usually has their own secret sauce to make footage come out awesome – HD or SD.


    While shooting is important, and authoring to DVD is definitely a consideration, this article is to help with guiding principles that will guide an editor to something usable when it comes time for output. Whether you create your content for DVD, web, television, whatever, looking at elements like how the footage was shot is key.  Monitors and other hardware differ from studio to studio.  We have a dozen editing stations with different gear at each and different operators taking different approaches. You're right in that we all shoot HD, but not all HD projects get delivered only in HD. 


    Anyways, three key points: 1) we're all on the same team 2) keep on creating great content and I so appreciate your take on HD for SD.  We all have different experiences, environments, hardware, software and creative outlooks and 3) if you ever want to chat me up about production, share a tip or trick, or teach me about something I may have missed the point on, please feel free. I'm lucky to have experienced a zillion things early on, but I'll learn from you as much as you learn from me – heck, I'll learn more. russ (at)


    Remember – somebody may not always agree with how you do things, but there might be a little gem in there that will help you out.  🙂


    Rock on,



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