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How to edit 720p and 1080i footage to get “film look”?
Hi everyone! This is my first post and I hope to be around more often, to learn and help whenever I can. 🙂
I would like to make a TV commercial from 1080x720p, 59.94fps footage (from a Canon 5D, I believe), 1440x1080i 29.97 fps footage (Sony HDR-FX1000), and a single mp3 file at 44100 Hz.
I was working on a DV NTSC sequence on Premiere, scaled everything to fit and applied a couple of Magic Bullet effects. I also did some time remapping to slow everything down a bit.
The commercial will not only be broadcasted in NTSC, but PAL, Youtube-like sites and maybe also DVD.
What is the best way to get high quality and that “film look” motion for the different scenarios?
I was thinking about working the same clips in 3 different projects: DV NTSC, DV PAL and 24P (for Internet and DVD) and then export each one into their respective NTSC, PAL and 24P outputs. But… would that work?Thank a lot in advance. 🙂
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5 Replies
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The frame rate is the ‘least’ of the things that will give the illusion of ‘film look.’
The first is done in shooting: controlling light for short depth of field (one of the reasons the DSLR movement for shooting is so popular.)
The second would be ‘curves’ in color correction for an ‘S Curve” giving higher contrast and more shadow/blown out highlights (bonus to blur the highlights)
The last is frame rate; the best way (aside from shooting 24 in camera) would be via Twixtor in AE; You could try a 24p timeline.
Best,
Jeff G
Apple Master Trainer | Avid Cert. Instructor DS/MC | Adobe Cert. Instructor
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You should follow me (filmgeek) on twitter. I promise to be nice.
Come See me speak at NAB!
Compressor Essentials from Lynda.com
(older but still good) Marquee, Media Composer (3.5) and Basic/Advanced Color DVDs (1.0) from Vasst.com
Contact me through my Website -
Thanks a lot Jeff, I really appreciate it.
But what if I have some clips at 59.94fps and some others at 29.97fps? Would it work putting all together in a 24P timeline and then export each one to DV NTSC, DV PAL and DV NTSC (progressive)?
I’m just a bit confused about working with interlaced and progressive clips together that have different frame rates, especially when the output should be NTSC/PAL television and Internet.
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Mario,
It is a thorny issue – and you’re dealing with what sounds like a faux film look/want, alongside footage that wasn’t optimally shot – and you’re trying to massage everything together.
29.97 and 59.94 are very much both interlaced and blend just fine – they’re essentially the same thing for our sake.
Putting them either in a 24p timeline will cause Premiere Pro to discard the necessary frames/fields to get it to playback. Some frames may appear odd as some field pairs are put together as a progressive frame. A better way to handle the footage is to do a format conversion – using something like Twixtor in AE that will reconstruct frames a bit cleaner than Premiere Pro will.
But this has nothing to do with the output headaches your source material has.
Output:
TV/DVD are interlaced. Everything in playback will have fields.
When handling a 24p timeline, pulldown is added, (google 2:3 pulldown) – there will be some odd field artifacts.
Your material will have artifacts from the 30i>24p…and then more/different artifacts when played back because of the 24p>30i conversion.Internet is always progressive (There is such as thing as 30p, 24p and 60p (although 60p is usually 720)) When handling interlaced material, you’ll have to deinterlace, preferably at the last step; for this it’s either a blending of field pairs or the elimination of one. With true 24p material, it’s progressive, so no damage; but your sources may have artifacts from the 30i>24p conversion.
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Generally, it’s suggested that you shoot/work with all the same frame rate. If you can also work with the same codec/frame size, better yet. This has zero to do with Premiere Pro; it’s the general rule with all editorial work. Not what you can do, but what you should do.If I’m aiming for the ‘film look’ – I’m shooting everything at 24 (including my SD material!), with adjustable lens cameras (with short DOF) that I can adjust the color correction in Post.
For TV/Dvd output, I’ll pick workflows that allow my deliverable to have pulldown added (DVD) or permit 24p output (HD/BluRay)
For the web, I’ll just compress, because all web is progressive.Thorny isn’t it?
Best,
Jeff G
Apple Master Trainer | Avid Cert. Instructor DS/MC | Adobe Cert. Instructor
————
You should follow me (filmgeek) on twitter. I promise to be nice.
Come See me speak at NAB!
Compressor Essentials from Lynda.com
(older but still good) Marquee, Media Composer (3.5) and Basic/Advanced Color DVDs (1.0) from Vasst.com
Contact me through my Website -
Thanks again Jeff. It is a thorny issue indeed.
Ok, so it seems I’ll just forget about working this material in a 24p timeline.
I just want to slow everything down a bit and enhance the color to make it all look better. I was thinking about using Magic Bullet Mojo (for color correction) and do time remapping at 60-80%.
The 59.94 material is progressive though, that’s how it appears when I interpret the footage. I’ve read you can combine progressive and interlaced footage if the output is interlaced, but if the output is progressive, the interlaced footage needs to be deinterlaced, right?
I just don’t know how to deal with 2 different types of footage that need 3 different outputs (NTSC, PAL and Internet). Should I do a “master edit” in a DV NTSC timeline, and the paste it to a DV PAL timeline and paste another to a DV NTSC timeline (and change to progressive scan right before I export)?
Thank you kindly for all the assistance.
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I created a DSLR 720p60 sequence (since most of the footage is 720p) and exported to h.264, while trying to match the output as much as possible (640×480, 59.94 fps, progressive, etc.). For the interlaced clips I selected the “always deinterlace” option and I think I got good results overall.
Then I created a DV NTSC and exported to identical settings. I don’t have an interlaced monitor now to check if everything really worked, but it does look fine on my iMac.
Do you think I’ll have any issues with the fields for putting the progressive and interlaced footage together in a DV NTSC timeline?
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