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Kona 2 HD Footage 29.97 – 1080psf or 1080i?
Normally all of our HD work is shot HDCAM at 23.98, but for a current job the art director wanted to portray a more video look so he asked for the footage to be shot at 29.97. I see that in my Kona 2 settings, I only have the option to capture 1080i 29.97 – there is no psf setting for that framerate. Why is this? Whenever I’m compositing I always try and avoid interlacing at all costs, but is this is a situation where I am left with no choice? Does a setting of 29.97psf exist within the F900 camera or is anything shot at that framerate always going to have fields? I did a test on some 1080i 29.97 footage in After Effects and even though it didn’t appear that the fields were there (I didn’t see the interlacing lines that I’m accustomed to), I know that there must be field dominance in the clip because if I rendered it back out with fields off, it lost it’s “video look”. So is this a case where I am stuck with fields??
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8 Replies
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[Michael Zimbard] “Normally all of our HD work is shot HDCAM at 23.98, but for a current job the art director wanted to portray a more video look so he asked for the footage to be shot at 29.97. I see that in my Kona 2 settings, I only have the option to capture 1080i 29.97 – there is no psf setting for that framerate.”
well Psf is a progressive capture that plays back as interlace, it is the default for the Sony HD format and all 1080 recorded in-camera.
Default for 29.97 (which is really 59.94 or 60i) is interlace and unless your DP understood that you wanted 30psf your content is interlaced at 60i.
gary adcock
Studio37
HD & Film Consultation
Post and Production Workflows -
So as long as the footage is shot properly at 29.97psf, what capture setting should I be using with the Kona 2 when the only options for 29.97 appear to be 1080i? I’m trying to keep everything in the progressive world if possible. Why is there no 1080psf option on the Kona 2 with a frame rate of 29.97?? I’m not just talking about easy setup because I can obviously make my own, but 29.97psf does not even seem to be a frequency that can be set for playback through the K2. What would be the reason for this?
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If it was captured progressively, it makes no difference whether you digitize it that way or not. If you bring it in as interlaced, field one and two will have material from the same progressive frame anyway. This is often a misunderstood issue in 25 frame land as well, where capturing 25p but posting 50i give you the same result. Progressive capture doesn’t demand progressive format post production unless the material is 24 fps (or 23.98).
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You do have to be sure, however, that you turn off field rendering in your sequence preferences to keep the renders progressive.
Jeremy
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Why? What difference does it make?
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If your footage is progressive, you want to keep that ‘progressiveness’ if you are doing moves on graphics, text, or rendering effects. If you don’t turn it off, FCP will render the effects as interlaced and why would you want that if you shot progressive?
Jeremy
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Hmmm.
Good points. However, the base footage underneath – i.e., the photographed footage – would be unaffected, regardless of whether you cut in a progressive or interlaced mode. For a narrative piece, it makes no difference.
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Not necessarily. If you cc or make a speed change and your sequence is set to interlace, guess what, you are introducing interlace. If you you shot progressive, all I’m saying is, tell FCP to render progressive. This is only for the 30 psf that was mentioned earlier. If you are editing 24, FCP won’t even let you change the field order.
Jeremy
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