-
Workflow question (progressive/interlaced)
I’m working on a project where I have:
-video footage shot on digibeta, in progressive mode
-3d graphics in which the video will be composited in After EffectsNow, I don’t really know much about progressive and I’m unsure about what settings I should be using for editing and the 3d animations.
I have captured the video in Final Cut Pro trough SDI on a Decklink SD extreme card, uncompressed 10 bit. Is the footage now interlaced even though it was shot progressive? Should I be using upper field sequences or no fields sequences to do the editing? Also, should I be rendering the 3d animation as progressive or interlaced?It’s all become a bit comfusing for me, so if anyone can help me get my head around this, it would be much appreciated indeed! 🙂
-
2 Replies
-
As far as I know, Digibeta cameras can not shoot progressive, so I am assuming that you have progressive footage transferred to Digibeta, or you shot it with a progressive format like DVCPro50 with an SDI out to the Digibeta.
If you are NTSC then your field order should always be set to Lower… if you are PAL it should be set to Upper. It doesn’t matter if the footage on tape is interlaced or progressive.
When rendering in AE do not field render if you want it to match the look of the progressive video source. If you have motion, then make sure to enable Motion Blur to prevent “strobing”. If you progressive footage is 30 this is easy. If your progressive footage is 24p (or 23.976), you will need to remove pulldown in the Interpret Footage window, comp in a 24/23.976fps comp, then field render and add pulldown in the Render Settings.
-Matt
-
hi thanks for replying. First off, I forgot to say I’m working in PAL. Second, I’m pretty sure that it was actually shot progressive on digibeta. I’m not a camera expert, but a search on google found some digibeta cams (like Sony DVW 970WSP) that have a progressive mode so I guess that’s what they used.
Reply to this Discussion! Login or Sign Up