HDV doesn’t respond to de-interlacing like PAL

[Rafael Amador]

Hi Llewelyn,
The PAL DV not deinterlaced will logically show the iterlacing artifacts when played in a progressive scan monitor.
About the HDV de-interlacing, how you did it?
Rafael

http://www.nagavideo.com

[Llewelyn Roderick]

Hi Rafael.

My work-flow looked like this:
recaptured all HDV footage via SDI/blackmagic HD Pro using Prores HQ codec. (3 days)
manually captured rest of HDV footage riddled with time-code breaks on my HDV camera because the Sony 1500e could not play these tapes. (4 days)

converted manually captured HDV to Prores HQ.

Graded in Color back to Prores HQ

De-interlaced Prores HQ clips only, using stibs de-interlacer.

cheers
Llewelyn

Llewelyn @ Fireworks
HD for indies post production
http://www.fireworksfilms.co.za

[Jeremy Garchow]

[Llewelyn Roderick] “De-interlaced Prores HQ clips only, using stibs de-interlacer. “

Never tried that one, but I think it’s free, no?

You chould check out fields kit from Revision. It’s cheap and does a very nice job.

https://www.revisionfx.com/products/fieldskit/

Now, that being said, tell us exactly how you deinteralced wiht Stibs including your sequence and render settings.

Jeremy

[Rafael Amador]

I tried the Stib’s de-interlacer long ago because was the only free de-interlacer with “Smart” option. sed to work OK but you had to set the sensibility to 100% to avoid artifacts.
The Revision FK is great but with a little problem, in FC only works in 8b. So your ProRess gets 8b.
In AE or Combustion works in 16b.
I wonder if the Nattress de-interlacers can work in 10b. This would be the best option for ProRess in FC.
Rafael

http://www.nagavideo.com

[Jeremy Garchow]

[Rafael Amador] “The Revision FK is great but with a little problem, in FC only works in 8b.”

You’re so right and that’s something I always forget. Thanks for the reminder.

[Alan Okey]

[Llewelyn Roderick] “I have a director on my hands who insists on getting that ‘film’ look for his documentary. This is his first film shot in HDV, mastered in Prores HQ. In the past he’s de-interlaced his PAL films and been very happy with the result.”

Forgive me for asking the obvious, but if the director “insists on getting that film look,” why didn’t he either A) shoot film, or B) shoot in a progressive HD format?

If I were in your shoes, I wouldn’t bend over backwards to appease someone who doesn’t seem know the first thing about video technology but “insists on getting that film look.”

[Jeremy Garchow]

[Alan Okey] “If I were in your shoes, I wouldn’t bend over backwards to appease someone who doesn’t seem know the first thing about video technology but “insists on getting that film look.” “

Oh man, I knew this comment was coming. It’s neither here nor there. Don’t kill the editor because they’ve been asked to fix a problem.

What’s done is done, they didn’t shoot progressive.

You mean to tell me that if the director of the documentary you have been spending most of your waking hours editing wants the movie deinterlaced, you wouldn’t do what you could? You’d just say no?

Jeremy

[Alan Okey]

[Jeremy Garchow] “You mean to tell me that if the director of the documentary you have been spending most of your waking hours editing wants the movie deinterlaced, you wouldn’t do what you could? You’d just say no?
“

I’m not killing the editor, simply pointing out the futility of enabling clients who don’t have their sh*t together. Life is too short to spend countless frustrating hours polishing a turd.

I’d have along conversation with a director before editing a project and make sure that he was aware of the limitations of the format and the budget.

Of course I’d deinterlace if asked to do so, but I certainly wouldn’t eat the additional expense in time or additional software if things ran over budget.

The way I work is that commercial clients who pay well get whatever they want. If I work for indie clients who can’t pay full rate, then I have to really like the project or I won’t get involved. What I’ve learned to not get myself into is a situation where there’s a very demanding client with no money who doesn’t have a clue.

[Jeremy Garchow]

[Alan Okey] “Life is too short to spend countless frustrating hours polishing a turd. “

Come on. Are you serious? You have no idea what this project is, who you are talking about or if Llewelyn even had a chance to talk with the director before shooting started. Turd or not.

[Alan Okey] “The way I work is that commercial clients who pay well get whatever they want. If I work for indie clients who can’t pay full rate, then I have to really like the project or I won’t get involved. What I’ve learned to not get myself into is a situation where there’s a very demanding client with no money who doesn’t have a clue.”

That’s fine, Alan. We should all have your client nirvana and your opportunities to turn down work. It sounds like a very nice place. Don’t get down on Llewelyn for it is all I’m asking. He is FINISHING the project. That might involve a deinterlace.

Jeremy

[Alan Okey]

[Jeremy Garchow] “Don’t get down on Llewelyn for it is all I’m asking. He is FINISHING the project. That might involve a deinterlace. “

Perhaps I wasn’t clear, Jeremy – I didn’t mean to sound like I was getting down on Llewelyn, I was feeling sorry for him. I’ve been in those kinds of situations before and it’s not fun. I apologize if I came off sounding like I was attacking him. Not the case at all.