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deinterlacing nightmare
I shoot and edit in HDV (Sony Z1 camera and FCP6). Recently, for the first time, I produced a couple of political ads for local broadcast affiliates. After seeing them on air, I immediately realized something was horribly wrong with the interlacing. The video was very distorted and “choppy”. The titles and gfx were virtually unreadable. Obviously, I’m doing something wrong in the conversion. The format for the local affiliates is DVCPRO SD. They prefer the spots on miniDV SD tape. I’ve tried numerous “solutions”, none of which are acceptable. I imagine the solution is reasonably simple. I just haven’t got the “formula” figured out. Can anybody suggest some solutions?
Thanks very much! -
3 Replies
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We have no way of knowing what mistakes (“solutions”) you might have tried unless you state very precisely what you did earlier.
Also, if deinterlacing was among the “solutions” you attempted, I can almost guarantee you that the chances are about 99 to 1 against that being a solution. Deinterlacing is all too often a desperation move for people monitoring on computer screens rather than true video monitors, who become frustrated by the appearance of the interlace in the canvas. More often than not, deinterlacing will only lead to greater frustration when properly monitoring.
David Roth Weiss
Director/Editor
David Weiss Productions, Inc.
Los AngelesPOST-PRODUCTION WITHOUT THE USUAL INSANITY ™
A forum host of Creative COW’s Apple Final Cut Pro, Business & Marketing, and Indie Film & Documentary forums.
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I can empathize with the desperate people but in my case, I was viewing spots currently airing on a local broadcast affiliate. In a nutshell, I want to take an edited(FCP6) HDV 1080i60 spot to a DVCPRO SD 4 x 3 format, print to miniDV SD tape, maintaining the best possible resolution. What would the workflow be in FCP 6?
Virtually DesperateR. Bruce Perry
INTERMIX DESIGN -
[R. Bruce Perry] ” I want to take an edited(FCP6) HDV 1080i60 spot to a DVCPRO SD 4 x 3 format, print to miniDV SD tape, maintaining the best possible resolution. What would the workflow be in FCP 6?”
In your HDV 1080i sequence select all and copy. Create a DVCPRO 50 sequence. Make sure your playhead is at the beginning of the sequence. Press Cmd-V to paste your 1080i sequence into the DVCPRO sequence. When FCP asks if you want to change the sequence settings to match your clip settings just say no. Now you have all your 16:9 clips letterboxed inside a 4:3 sequence.
16:9 footage is the same height as 4:3 so all you have to do is what’s called a “centre punch” of your widescreen clips. Double-click your first clip to load it into the viewer. Click on the scale parameter tab in the viewer and scale the clip to 100%. In the canvas window now you’ll see the clip filling the frame but the sides are cut off. You can also accomplish the same thing in the canvas window by dragging a corner of the clip until the top and bottom fill the frame. Anyway, after you’ve scaled up the first 16:9 clip in the viewer just hit “Cmd – C” to copy that clip’s attributes to the clipboard. Deslect the first clip and select all the rest with the track forward tool. Hit “Option-V” to paste the first clip’s attributes on to all the other 16:9 clips. In the dialogue box that pops up make sure “Scale” is selected and click OK. All your 16:9 clips are now centre punched to fit the 4:3 sequence.
– Don
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