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Combining DSLR (interlaced) and (ACVHD) de-interlaced footage
Hello Everyone,
I am working on a documentary film project that needs to combine interlaced ACVHD (from a couple of Panasonic TM700s) and progressive video shot with 3 different Canon DSLRs (5D, 7D and 60D).
We are using FCP 6.06 for this initial phase of editing, on a MAC G5 Quad.
I used Clipwrap to transcode the 60i ACVHD to ProRes 422, and compressor to Transcode the 30 fps DSLR H.264 to ProRes 422.
I created a 1920x1080i ProRes 29.97 fps timeline, and placed both converted clips on the timeline.
The ACVHD (interlaced) footage has interlaced horizontal lines, and the DSLR progressive footage has no lines.
I do understand that:
1) It is not accurate to judge interlaced footage on a computer monitor, which will look different on most television sets
2) web delivery is best served by progressive, and DVD and broadcast requires interlaced. (we expect our project to be released in cinemas, television and DVD).
My question is:
1) Is it normal that the progressive and interlaced looks different on the interlaced timeline (the interlaced has horizontal interlaced lines, and the progressive has not lines whatsoever)? Will this be normalized once we finalize the final project?
2) How can we best match the interlaced and progressive footage? (I know that generally, because Canon DSLRs have better lenses and electronics than the Panasonic TM700s that were used, that the DSLR footage will look better than the ACVHD footage, but I am trying to match them to the point of not having one stand out in relation to the other)
Thank you for your thoughts and suggestions.
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5 Replies
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Khashyar,
As you’re doing now, cut both progressive and interlaced in an interlaced sequence set as upper field dominant. If your canvas size is set to exactly 100% you really should not see the interlace on your computer monitor. Let me know if that helps…
David
David Roth Weiss
Director/Editor/Colorist
David Weiss Productions, Inc.
Los Angeles
https://www.drwfilms.comPOST-PRODUCTION WITHOUT THE USUAL INSANITY ™
A forum host of Creative COW’s Business & Marketing and Apple Final Cut Pro forums. Formerly host of the Apple Final Cut Basics, Indie Film & Documentary, and Film History & Appreciations forums.
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Thank you, David.
The settings are how you suggested, but with shots that have camera motion, I do see fine interlaced lines in the ACVHD footage, and no lines in the DSLR progressive.
The lines are not thick lines, but they are there, especially where there is motion.
It reminds me of the interlaced lines in DV footage, but my main concern is matching the interlaced and progressive within the same timeline.
I want to understand whether I am missing something in the transcoding settings, before transcoding the 200+ hours of footage that we have 🙂
I thought it might be the Clipwrap software, but I did a test with the same ACVHD clip via Clipwrap on our G5, and then with Log and Transfer on a MacBook pro with FCP 7, and the interlaced lines were the same using CLipwrap and Log & Transfer, and the clips looked about the same. The end encoding was ProRes 422 in both cases.
I appreciate any other suggestions or thoughts.
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If you want to send me a short 10-second clip I can evaluate it for you, otherwise it’s just guess work. My email address is on my website contact page if you want me to take a look.
David Roth Weiss
Director/Editor/Colorist
David Weiss Productions, Inc.
Los Angeles
https://www.drwfilms.comPOST-PRODUCTION WITHOUT THE USUAL INSANITY ™
A forum host of Creative COW’s Business & Marketing and Apple Final Cut Pro forums. Formerly host of the Apple Final Cut Basics, Indie Film & Documentary, and Film History & Appreciations forums.
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That’s kind of you David, thank you.
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Hello Everyone,
I just wanted to share the resolution to my question.
David Weiss was kind enough to look at a sample of our interlaced ACVHD footage, and he confirmed that the interlaced ACVHD footage looked absolutely fine on his 42″ production monitor, and he mentioned that he has worked successfully on many projects that combined interlaced and progressive DSLR.
I think that our uncertainty came from looking at the combined progressive and interlaced footage (where they were both integrated on an interlaced FCP timeline) on a computer monitor, and not on a production monitor.
I had not worked on a project that combined progressive and interlaced footage on the same timeline, and I was worried that they wouldn’t match well.
Thank you, David, for your help and for sharing your expertise.
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