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FCP7 workflow – 5D MIII progressive footage for interlaced broadcast
Hi everyone!
I am Stan, nice to meet all of you. I am a french producer working in Miami, mainly on news and documentary stories around the States.
First message on the forum, but been around here often to seek some solutions to some problems. I guess a big thank you is in order for all the time I got help here, so THANK YOU, all of you.I am once more looking for advice. I need to start editing a project for French TV, and they need a interlaced file for delivery. However the footage is in progressive as it was shot with a 5D MIII (1920*1080 25FPS IPB). What are my best options to have a “proper” interlaced delivery ? Do I need to digitize the footage in a special way before editing ? Or is there something I should do once my piece is ready ?
Usually I put everything in Pro res 422 and I adjust my FCP timeline in 1080i50, the final file (native, or H264) will look like its interlaced but it won’t pass the channel’s quality check…
I found this AE tutorial (https://library.creativecow.net/articles/solorio_marco/interlacing_progressive_footage.php) but I don’t have it installed at the moment, and I am not very handy with it so I’m not sure I understand all the steps.
Open to any suggestions if there is any solutions to this…
Many thanks for your help. -
4 Replies
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[Stanislas Gazelle] “Usually I put everything in Pro res 422 and I adjust my FCP timeline in 1080i50, the final file (native, or H264) will look like its interlaced but it won’t pass the channel’s quality check…”
Why won’t it? That’s what I do. There will never be between image fields, it’ll aways be two fields of the same image. What’s their beef?
Shane
Little Frog Post
Read my blog, Little Frog in High Def -
Thanks Shane.
Don’t really know, been trying to figure it out for months! We bought an A7SII to make our life easier but this time it wasn’t available…
Basically what they do is they analyze the file upon delivery by injecting into their broadcast workflow (been trying to know what exactly the process is, but nobody explained). I have never been passed that step when delivering progressive footage edited on an interlaced timeline. Apparently they re-encode the files and progressive shows up, their end result is completely twitchy/jerky images… -
Hi Dave,
It’s a pretty big channel, and their process has been running for some years now, can’t imagine it’s something wrong on their side.
We edited the story yesterday on HDTV 1080i50 timeline. Exported it as such. It’s flashing as interlaced on MediaInfo. However the technical dpt of the channel called me this morning saying they won’t broadcast it as it was shot in progressive…
Out of options …I might give the AE tutorial a try! -
[Stanislas Gazelle] “the technical dpt of the channel called me this morning saying they won’t broadcast it as it was shot in progressive…”
Was this a guideline they gave before you started production? That the project CANNOT be shot Progressive? That it MUST be shot Interlaced? I know of a few networks that do require that…that’s why I ask. And if they do, then it’s up to production to adhere to those guidelines.
BUT…if you made a show FIRST, and then shopped it around and a network bought it, and are now complaining that it wasn’t shot interlaced like they require…then this is when you need to get into talks with all involved. Because you shot BEFORE knowing what the network required. And there really is no easy way to make progressive look interlaced…unless you do that AE thing. And personally I think it’s extremely silly and very PETTY to go “sorry, we won’t air this. We don’t do progressive, only interlaced.” Unless they can provide a legitimate technical reason, I call BS on them. Nicely…politically. But a couple places have presented the technical reasons why…but then still had to air our show as it was bought after the fact.
Shane
Little Frog Post
Read my blog, Little Frog in High Def
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