Bad Interlacing Problem?!?

[Rick Mac]

I’m betting your field order has been reversed somewhere in the chain.

Did you do any pan/crop of clips or the project.
Sometimes this can mess up your field order and simply
adjusting on click (field) up or down in pan/crop can remedy the problem. (Make sure sync to cursor is not selected) when you make the adjustment or you will not affect the entire clip. Only do this to clips that you pan/cropped.
Also track motion can have the same affect on your field order.

That would be my first try.

Regards, Rick.

Rick Mac
Director of Audio Production
TCT Network – Directv 377

[Rick Mac]

Can you post your Vegas project settings and
the settings used for your DVDA Mpeg render.

Thanks.

Rick Mac
Director of Audio Production
TCT Network – Directv 377

[Marc Istook]

Thanks Rick…

Here are the settings:

Footage:
720pNative dubbed with 2:3 pulldown inserted to MiniDV tape
Captured via firewire
Vegas saw the pixel aspect ratio as 1.21

Project Properties:
NTSC DV 720×480
Lower Field First
.90 par
29.97
De-interlace: none

DVDA Render Settings:
DVDA Video Stream
720×480, 29.97
Lower Field First

I’ve shot plenty of 24p and 24pA footage with the DVX-100 before and never had a problem. And since the footage plays back fine out of the camera on a monitor, I do think you’re right — that somehow a field order problem cropped up somewhere, but where? I haven’t done anything other than simply drop this footage into the timeline. Changing the de-interlace settings to blend and interpolate and toying with the “remove 24p pulldown” box hasn’t seemed to have an affect. I could change the timeline to 23.98, but that adds some odd blurs, and this footage *should* work as 29.97 regardless.

I imagine I’m not the first person to try this workflow… I guess we’ll see what the problem is.

One potential solution — re-dubbing the original footage with a 2:3:3:2 pulldown (advance) instead of 2:3, matching up the timecode, removing pulldown and re-creating the project in a 23.98 timeline, where it’d all be progressive. Might work?

Thanks again for your help!

– Marc

[Mike Kujbida]

Marc, I’m confused here.
You say that your original footage is 24p widescreen yet you have your Vegas properties set to 29.97 & 4:3 width.
Shouldn’t you be setting project properties to the NTSC 24p DV Widescreen template?
For a DVD render, shouldn’t you be using the DVD Architect 24p NTSC Widescreen template?

[Marc Istook]

The original footage was 720pN… I dubbed it to tape adding a 2:3 pulldown — best suited, by my understanding, for viewing on a 29.97 timeline and regular video screen… as opposed to adding the 2:3:3:2 pulldown, which you’d use later for removal in a 23.98 timeline.

So when I play the video file back from the camcorder on a 29.97 monitor, it looks fine, so I know that’s not the problem.

As for the aspect ratio — I’m not using the DV Widescreen template because I have other graphics and effects in the project that are 4:3, and I want this footage to remain letterboxed while the other graphics, etc., fill the frame.

Clear as mud!? 🙂

– Marc

[Marc Istook]

Let me add a bit of background here which might help those choices listed above make more sense.

I’ve shot a lot of 24p footage with the DVX-100… So I’m used to that workflow — 24p regular, for use on a 29.97 timeline for final destination over air… 24pA for use on a 23.98 timeline for final destination to DVD.

I shot this video with my new HVX-200 in 720p Native — because I wanted to get used to shooting in HD, and for storage space considerations compared to the other HD flavors. Knowing this project would be 29.97, I dubbed to MiniDV with the 24p regular pulldown settings, expecting no problems — should’ve been the same as any of the 24p stuff I’ve shot on the DVX-100, without having to mess with pulldown removal and alternative timeline settings…

Hope that helps!

– Marc

[Rick Mac]

Marc,

I would eliminate some steps in my workflow.
Capture the HDV 720p stream via firewire and either convert it then and there to DV files, or better yet keep the entire project HD until render time. The quality would be better doing the latter if your computer is fast enough. Perhaps, using the Cineform codec, edit, all in HD then render to SD.
I just think that I would let Vegas handle the down scaleing
and the pulldown.

According to the book “HDV what you need to know”, the best way to handle HDV to SDV is to keep your project HD until render time.

Regards, and keep good luck.

Rick.

Rick Mac
Director of Audio Production
TCT Network – Directv 377

[Marc Istook]

Thanks Rick. Great help — except I’m not using HDV. I shot this on the Panasonic HVX-200 — P2 cards. So capturing as HDV isn’t an option. 🙂

– Marc

[Rick Mac]

[Marc] “except I’m not using HDV. I shot this on the Panasonic HVX-200 — P2 cards”

I’m red faced indeed.
I’m going to back out of this one since I know nothing
about P2 workflow.

I did dig up a article that Spot has at VASST.com that
describes his workflow with the HVX-200. Perhaps it can help.

Hope you get it figured out.

Regards, Rick

Rick Mac
Director of Audio Production
TCT Network – Directv 377

[Douglas Spotted eagle]

First, why not just use Raylight to bring in the 24pN content? Would save you a *lot* of grief.
Second, are you resampling? Shouldn’t be in this case.
Third, how did you insert the pulldown?
Do you want to keep this progressive or not?
Sounds like you’ve inverted fields somewhere along the way.

Douglas Spotted Eagle
VASST

Certified Sony Vegas Trainer
Aerial Camera/Instructor