DeInterlacing PAL footage.

[Pierre Jasmin]

https://www.revisionfx.com/generalfaqs.htm

The 200 megs tutorial is for Twixtor not FieldsKit
FieldsKit only deals with fields (deinterlacing, reinterlacing and pulldown, not retiming per se behind that)

https://www.revisionfx.com/generalfaqsNTSCtoPAL.htm

Pierre

[Roboday]

Hi Pierre.

Most of my shooting is done with Sony’s HDV camera range, either the Z1E or A1E. Im kind of at a loss what to shoot at exactly, HD or SD, then which settings to use [remember im in the uk, so I dont shoot ntsc]. As far as I can tell [the equipment is at uni, i dont have it here so its kinda hard remembering things], I cant shoot progressive. So Im fairly sure my footage can only be interlaced.
Most of the work I’ll do will end up on DVD, so I’d prefer it to look as crisp as possible, thus deinterlaced Im guessing is the way to go.

So setting up the deinterlacing is just a simple, import footage with no fields, deinterlace with plug in, render out with no fields – voilla done?

[Pierre Jasmin]

Correct
It does help to use a feature like the “Motion Masking” mode in Fieldskit to get the most out of a frame with 2 fields, particularly when the camera is locked-off. A straight deinterlacing otherwise would just blend the scan lines to make one up. If software knows that there is no motion in a certain area it can get the pixel from the other field and like that make the equivalent of a progressively captured frame in that region

Pierre

[Roboday]

Ah ha.

I’ll have to experiment when I next get a chance.

Most of my footage has a moving camera, albeit sometimes mounted in a moving car window.

[Shin Kurokawa]

IIRC, one of the cameras you mentioned does
24/25p.

‘strobe / slide show look’ < --- > ‘life-like’
Slower frame rate < --- > Faster frame rate

Somewhere between these extremes, you can
obtain a ‘sports TV’ / ‘soap opera’ look
(interlaced) or a ‘film’ / ‘film telecined to video’
look (progressive or progressive-to-interlaced
via adding pulldown).

Obviously the choice to shoot interlaced or
progressive is an artistic decision.

On the other hand —
MPEG2 and many compression schemes perform ‘better’
(trans: less difference between pre- and
post- compression) when there is low entropy –
meaning, least amount of change, noise, motion, etc.

So, in general, progressive footage can be compressed
at higher ratios at a given quality level. Or, another
way to look at it is, the same footage can be compressed
at lower compression ratio to obtain higher visual
quality given the same data size. Pretty important,
since DVD-Video (or MPEG stream on cable, etc.)
is fairly limiting.

Progressive footage (and shot + compressed as such)
also look much ‘better’ on bigger monitors, plasma,
projectors, computer monitors,etc. Again, might
be important given that more consumers are spending
big $ on these types of displays.

-Shin

[Roboday]

Cheers for the info, I just shot on 1080i PAL 50i

Now it seems like Im meant to have Aspect to flipping edit HD stuff, adobe haven’t a clue how annoying they are.
Anyway, does anyone have any more tips dealing with handheld PAL footage, 90% of the time im in FAST moving cars, so it tends to jerk around a fair bit until I stabilise it in post.

[Shin Kurokawa]

maybe use an isolation mount or steadcam during a shoot?
-Shin

[Roboday]

2 problems with that:
I dont have a steadicam kinda of device, and most of the time I cant take much equipment with me because Im hopping from car to car.

Magic Bullet seemed to cope a LOT better, but ofcourse the trade off is that its about a million times slower.

[Timo-uk]

There’s an anti-shake plugin called “SteadyMove Pro” by 2D3 which is fantastic.

I had a scene where I was walking down the stairs to meet my brother when we were getting ready for his wedding… the original camcorder capture was very shaky. Apply SteadyMove Pro and it looks like I literaly glide down the stairs!

It works by zooming into the image (by cropping), and then using the unseen border as a “cushion” to stabilise the images where needed. But you have great control over the parameters as to how much cropping you will allow, etc..

For any future captures, you can bear this in mind and consciously capture shots more zoomed out, to give you the headroom if you feel you will need to use SteadyMove Pro in post-production.

https://www.2d3.com/jsp/products/product-overview.jsp?product=11

[Alan Howard]

Rob, what was the outcome of your original post? which one did you go for?
I’m also torn between Magic Bullet and Re:Vision fields kit. MB looks great but it seems to be sooo slow … the only tutorial for Fields Kit I can find is NTSC and the maths are spinning me out … did you find a good PAL tutorial ? (I’m very untechnical…)
Cheers
Alan