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De-Interlacing 1080P & 1080PA
Hi,
So far I’ve only been able to find old posts about this and am wondering what the current approach is:
I shot in 1080 24P (not PA) on the HPX170, so the footage is interlaced.
What’s the best way to remove the interlace and make it progressive, so that I can edit it in FCP in a 23.98 sequence?
I saw that Jeremy Garchow wrote: “Compressor offers this [reverse telecine] as an option which can be done in batches with the proper setup, or you can remove the pulldown clip by clip in Cinema Tools.”
But what is the proper setup for this?
Also, once I realized this issue, I shot the remainder of my footage in 1080 24PA because, if I understand it right, I can deinterlace / reverse telecine during the import into FCP. Can anyone point me to a “how to” on this? (Shane – do you have a video tutorial on this?)
Thanks!
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4 Replies
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Due a test but turning on Frame Control, Set to deinterlace>reverse telecine should figure out the cadance and do the work for you.
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[Michael Sacci] ”
Due a test but turning on Frame Control, Set to deinterlace>reverse telecine should figure out the cadance and do the work for you.”What MIchael says, but you have to make sure that Compressor interprets your footage correctly. I know this may sound crazy, but some 1080i DVCPro HD footage will be interpreted as lower first by Compressor. You then change it to upper first in the a/v controls tab (single click on the footage thumbnail) then follow Michaels advice. Don’t forget to set your frame rate to 23.976, and not 23.98 in the video settings.
Once setup, it works very well and does a nice job. I would recommend starting with your raw footage and not any exports from FCP. I’d set up batches of 30 or so at a time, and then submit them, and then setup another batch of 30 or less. Compressor seems to wig out with batches over 30 for some reason.
If you have too much footage for this, you can but in a 23.98 timeline and do the conform on only the clips you need later. But the motion characteristics of the 1080i footage will look weird.
Jeremy
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Thank you both.
Jeremy – when you say to use the raw footage, you mean before it has been ingested into final cut and wrapped as a quicktime?
Do I have to check clip by clip to see if compressr chose “lower first” and change each one clip by clip, or can I just check the first clip in the batch?
Also, is there a way to tell if something was shot in 24P or PA?
Does it make sense that my footage looks fine when opened in Quicktime, and only shows the interlacing when I open it in Final Cut?
thanks
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[Isaac Brillant] “you mean before it has been ingested into final cut and wrapped as a quicktime?”
No, I mean once you log and transfer, take the footage out of your capture scratch in to Compressor. Don’t reexport out of FCP.
[Isaac Brillant] ”
Do I have to check clip by clip to see if compressor chose “lower first” and change each one clip by clip, or can I just check the first clip in the batch?”Unfortunately, yes. 🙁
[Isaac Brillant] “Also, is there a way to tell if something was shot in 24P or PA?”
You can go clip by clip and check the pulldown. If it was shot 24pA, FCP will remove the pulldown via log and transfer. Regular 24p, it won’t.
[Isaac Brillant] “Does it make sense that my footage looks fine when opened in Quicktime, and only shows the interlacing when I open it in Final Cut?”
DOn’t judge anything until you look at it on a proper video monitor through a capture device.
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