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Basic questions on how to use 720p25 footage in a SD Pal anamorphic sequence
Ok I know this is real basic, but the more I read the more I’ve become unsure.
On our most recent shoot, we used a Sony PMW – EX3 camera and filmed in 720p25 (MPEG HD, 35Mbps) for use in a Pal sequence, mainly cause the camera couldnt film in a SD format.
When the edit is finished it will be put to DVCAM tape and broadcast. It will also be used for an online website.
I have a couple of questions about all of this:
1. I have imported the footage into FCP and dropped it in a PAL sequence timeline, it looks pretty normal to me, should I be doing some other step before dropping it into the timeline?
2. Should I set the field order of the PAL sequence to “none” as i’m using progressive footage.
3. Why have I read everywhere that I should be using interlaced for broadcast? Is it fine for me to use 25P i.e field order set to none (psf I believe it is via sony), and broadcast that out?As you can see, i’m a little confused as to what the steps are to using a higher res footage shot in progressive in a PAL sequence, that will be used for broadcast and online.
Any help is most appreciated
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2 Replies
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1 Negative, stay where you are.
2 Negative, PAL is always interlaced. DVCAM tape is always interlaced.
3 Negative, see above. Consult your broadcast company. I’m sure they’d accept only interlaced PAL material.Sony PMW-EX3, Canon Mark II 5D, FCS3 in Moscow
http://www.mokaeff.com -
So just to help my understanding.
What is the difference between 25psf and 50i besides the 50 instances in time and the 25 instances in time respectively.
They both have 50 fields, so if I tell FCP that my 25psf footage has a field order of “none”, what is FCP doing with the fields? Playing both at once and holding them there for a whole frame?
What happens when I put my sequence back to DVCAM with field order set to “none”. Does final cut do the same thing and duplicate the fields on both upper and lower, so that it is back to 50i on the tape?
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