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24 fps Animation interlacing in a 29.97 sequence
Hi,
I have a nightmare AVID project that I wish would end already, but alas, here I am.
I am trying to put together a 29.97 SD uncompressed QT from many different formats with various frame rates:
1080i/29.97, DV 29.97, DVProHD 24p, animations at 24p.The problem is that there is heavy interlacing which is most noticeable in the animations after exporting.
To get the animations looking fine (without a jumpy effect) on a TV connected to the Avid, I imported the animation files (24fps 864×325) into After Effects and rendered them so they were 864×486 with 2:3 pulldown (SSWWW).
Within the Avid sequence, all of the animations have motion effects (all speed ups) which have been rendered with Fluid Motion.
After getting to final picture, I exported uncompressed video from the Avid (compression type: none) and got heavy interlacing, which I understand is expected while on a computer screen. However, burning the same QT (after it is ran through Compressor) to a DVD still produces the interlacing while watching on a TV.
I ran the QT through compressor with every option for Field dominance: bottom first, top first, progressive. Yet, there is still visible interlacing on each take of the DVD.
I then exported with compression type as Uncompressed 10bit 4:2:2 twice, one with even (lower first) and another with single field. I also ran both of these through every compressor option. So far the Uncompressed 10 bit 4:2:2 with single field from avid and bottom first from compressor looks best, but still has interlacing.
My next test (which I am currently running) is going through the animations within the Avid sequence. In the motion effects window, I go to FORMATS.. and am testing each INPUT and OUTPUT. I am going to test every option, but I think the best would be INPUT: Film with 2:3 pulldown (since that’s what I made in After Effects) and OUTPUT: Interlaced. I will update the post if this actually works.
There have to be 1000 variables to this one, hopefully someone has cracked the code previously and knows the proper workflow.
Thanks ahead of time,
Colin -
4 Replies
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Why go through the 2:3 pulldown insertion in After Effects if you are going to speed them up anyway in Media Composer? Try this and I believe you might get a better quality result after the FluidMotion stage; import QT (assuming no audio tracks) with a console command of “ignoreqtrate true” which will bring in the original 24p animation in frame for frame. When playing back, it will now be 25% faster but no field based artifacts. Now calculate you speed up based on that – depending on need, you may actually need to slow down. Fluidmotion then won’t have to deal with the 2:3 pulldown interlace across frames.
Michael
Michael Phillips
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Thanks for the response, Michael.
When I imported the 24fps animation with the console command “ignoreqtrate true,” it definitely looked smoother than when adding 2:3 pulldown in After Effects.
However, I still needed to add a speed up to the animation and when I did, the interlacing was still apparent on a DVD on a TV after running the exported uncompressed Quicktime through compressor. (When the speed up wasn’t there, the interlacing was gone).
The workaround to this was making a Digibeta of the entire cut, reimporting it 1:1 into Avid, and then exporting it as an uncompressed QT. This solved the interlacing issue on a DVD seen on a TV.
The lesson learned was that Avid couldn’t handle 7 video layers with effects on almost all of them. I suppose the workaround was similar to the process of baking the files when going from Final Cut to Color.
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I don’t see why going out and back in would have any impact on that… but if it works, it works! That should really be no diffent than a mix down…
Michael
Michael Phillips
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yes, I tried a mix down as well, but this didn’t help.
I would think the process of going out and then back in through a digibeta would work because the Avid is ingesting a whole new file without effects (since they are inherently in sequence) which seemed to be causing the problem in the first place.
Colin Edelman
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