Field dominance settings

[Stephan Walfridsson]

Are you seeing the jagged edges on an external monitor or only in the canvas viewer?

[Andreas Eidhagen] ” when we capture the footage it’s in field dominance Upper (odd) and when we drop it in a timeline that’s set to field dominance none it de-interlaces the footage. “

So if you change the field dominance setting to ‘none’ for the source footage in the fcp browser, does that solve your problem?

[Andreas Eidhagen] “We are working with PAL 25fps both and HD 25 fps.”
Do you mean the you have both HD and SD on the same timeline? What is your sequence set to SD or HD? Is the problem occuring on SD or HD footage or both?

Stephan

[Andreas Eidhagen]

Are you seeing the jagged edges on an external monitor or only in the canvas viewer?

Both (if i make a quicktime export it’s there as well no matter what codec i use.)

[Andreas Eidhagen] ” when we capture the footage it’s in field dominance Upper (odd) and when we drop it in a timeline that’s set to field dominance none it de-interlaces the footage. ”

So if you change the field dominance setting to ‘none’ for the source footage in the fcp browser, does that solve your problem?

Yes, that solves the problem. However, I have to drop the clip to the timeline.

[Andreas Eidhagen] “We are working with PAL 25fps both and HD 25 fps.”
Do you mean the you have both HD and SD on the same timeline? What is your sequence set to SD or HD? Is the problem occuring on SD or HD footage or both?

No, sorry, what I mean is that the problem occurs both in HD and SD. I have one timeline that’s HD with 1920*1080 footage + one timeline that´s SD with 720*576 anamorphic footage and the problem is the same.

How do you work with progressive footage, do you set your field dominance to none in the timeline? Or do you work with field 1 (upper)? Do you know if it’s possible to have the field dominance set to upper in the timeline settings but still render dissolves as progressive instead of interlaced?

Thanks

/ Andreas

Stephan

[Jeremy Garchow]

[Andreas Eidhagen] “How do you work with progressive footage, do you set your field dominance to none in the timeline? Or do you work with field 1 (upper)? Do you know if it’s possible to have the field dominance set to upper in the timeline settings but still render dissolves as progressive instead of interlaced? “

OK. If you can remember, what you need to do is set your clips right after you capture to a field dominance of none in the browser, then you add these clips to a none timeline. If you have already begun your edit, you should still change the clips in the browser to none for future edits (you can do more than one at a time by selecting them and right clicking on the field dom column), but more importantly, for the clips already in the timeline, you need to select all in the timeline, then right click on a clip and choose Item Properties > Format. Then find the row that says ‘Field Dominance’. You will have to change them all to None one by one, but it will be easier than reediting them all in to your timeline.

Make sense?

Jeremy

[Andreas Eidhagen]

Hi, makes perfect sense, that’s the way we are working with the footage right now. The problem is that when working with a commercial that has 10 different edits and you already have a short deadline this solution becomes extremely time in-sufficent. There has to be a way to either get the clips set to none in field dominance as a default or to render the dissolves as frames instead of fields even though the timeline settings are set to upper (odd).

Also, we are doing a 2 hour feature in a short while and changing the item properties for all those clips just isn’t an alternative.

/ Andreas

[Michael Gissing]

I am sure the broadcasters for the commercials will want an interlaced final for the HD and SD is only interlaced so I am not sure why you are working with a ‘none’ timeline.

Your SD was surely shot interlaced but what about the HD?

[Andreas Eidhagen]

I am sure the broadcasters for the commercials will want an interlaced final for the HD and SD is only interlaced so I am not sure why you are working with a ‘none’ timeline.

Your SD was surely shot interlaced but what about the HD?

Well, the commercials are shot on 35 then telecined to either HD or SD (HDSR or Digibeta). We want them in full frames (progressive) since there both for cinema and TV.

[Michael Gissing]

[Andreas Eidhagen] “the commercials are shot on 35 then telecined to either HD or SD (HDSR or Digibeta)”

So the source material is psf, which is an interlaced frame with progressive segmented fields if you are at 25 fps on the HDCam SR.

The digibeta is also progressive in an interlaced frame, so I still don’t understand why you don’t use 1080 50i for HD and uncompressed SD because that’s what you have on tape. In each case you are upper field dominant

[Andreas Eidhagen]

So the source material is psf, which is an interlaced frame with progressive segmented fields if you are at 25 fps on the HDCam SR.

The digibeta is also progressive in an interlaced frame, so I still don’t understand why you don’t use 1080 50i for HD and uncompressed SD because that’s what you have on tape. In each case you are upper field dominant

______

I use uncompressed SD and 108050i but the problem is that if i work in a timeline with Upper field as dominant the transitions are interlaced! With other words, printed out to a film copy looks like shit. If i could work with upper field as dominant but render the transitions as full frames instead of fields then the problem would be solved but no one seems to know how or if this is possible.

[Walter Biscardi]

[Andreas Eidhagen] “If i could work with upper field as dominant but render the transitions as full frames instead of fields then the problem would be solved but no one seems to know how or if this is possible. “

I don’t believe that’s possible. Your timeline is interlaced. Transitions will be the same as the timeline.

Walter Biscardi, Jr.
Biscardi Creative Media
HD and SD Production for Broadcast and Independent Productions.

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[Andreas Eidhagen]

That’s pretty much what I thought, but how do people work with a project thats shot on 35, scanned and graded to a HDSR and then onlined and back to HDSR and film? What’s the typical workflow in final cut?

/ Andreas